The Architecture and Landscape Gardening of the Exposition A Pictorial Survey of the Most Beautiful of the ArchitecturalCompositions of the Panama-Pacific International Exposition With an Introduction by Louis Christian MullgardtF. A. I. A. Architect of the Court of AgesMember of the Architectural Commission of the Exposition 1915 San Francisco The courtesy of the Cardinell-Vincent Company, official photographers ofthe Panama-Pacific International Exposition, of granting permission toreproduce the selection of official photographs appearing in thisvolume, is gratefully acknowledged To the spirit of Community Loyalty by which greatest results areaccomplished. To generous Collective Energy which unites the world'speople in universal kindliness. To the wholesome people of our SanFrancisco, whose united efforts unconsciously disproved the impossible, this book is affectionately dedicated. L. C. M. Reflection International Expositions are independent kingdoms in their corporaterelation with other countries of the world. They are phantom kingdomswherein the people do everything but sleep. They germinate and grow withphenomenal energy. Their existence is established without conquest andtheir magic growth is similar to the mushroom and the moonflower; theyvanish like setting suns in their own radiance. Thousands of neophytesof every race, creed and color come with willing hearts and hands to dohomage and bear manna to nourish the sinews of a phantom kingdom. The National Constitution of phantom kingdoms commands that the Spiritof beauty, refinement, education, culture and frolic shall govern. Theresult is that they contain many palaces and shrines decorated withsculpture and painting and that the earth is studded with fountains andpools within tropical gardens. Such a Kingdom exists within a wonderfulvalley bordering on a great sea. It is surrounded by high velvet hillsof fine contour and by many real cities. As the people look down on thisphantom kingdom from the hill-tops, or from ships sailing on the water, they see Architecture nestling like flamingoes with fine feathersunfurled within a green setting. If building Phantom Kingdoms symbolizes man's highest aims on earth, then the same is true when building Real Kingdoms. Architecture and thesister arts are the most reliable barometers in recording human thought. They are direct exponents of a universal language wherein nationalprogress is most clearly read. People who build Phantom Kingdoms look hopefully for universal approvalby all mankind. L. C. M. Contents Reflection. Louis Christian MullgardtThe Architecture and Landscape Gardening of the Exposition. Louis Christian Mullgardt Illustrations The Rotunda of the Palace of Fine Arts--A View by Night. Hilda Van Sicklen, photo. (Frontispiece)Panorama--Exposition from Presidio Heights. W. Zenis Newton, photoTower of Jewels--The Illumination by Night. J. L. Padilla, photoFountain of Energy--A View in the South Gardens. W. Zenis Newton, photoFestival Hall--South Gardens and Mermaid Pool. W. Zenis Newton, photoFestival Hall--The Terrace and Colonnade. W. Zenis Newton, photoFestival Hall--Mermaid Pool in the Mist. Jesse T. Banfield, photoPalace of Horticulture--The Dome and East Entrance. W. Zenis Newton, photoPalace of Horticulture--Dome and Spires by Night. James M. Doolittle, photoPalace of Horticulture--The Colonnade on the East. W. Zenis Newton, photoHorticultural Gardens--Floral Exhibit in the OpenAvenue of Palms--View from Administration Avenue. W. Zenis Newton, photoPalace of Education--Main South Portal. W. Zenis Newton, photoPalace of Education--One of the Minor Entrances. Pillsbury PicturesCourt of Palms--The Sunken Pool by Night. W. Zenis Newton, photoCourt of Palms--Portal, Palace of Education. Jesse T. Banfield, photoCourt of Palms--Portal, Palace of Liberal Arts. W. Zenis Newton, photoCourt of Palms--Italian Tower from Main Portal. W. Zenis Newton, photoCourt of Palms--In the Colonnade by Night. William Hood, photoCourt of Palms--A Curve in the Colonnade. W. Zenis Newton, photoPalace of Liberal Arts--Portal, From the South Gardens. Cardinell-Vincent, photoPalace of Liberal Arts--The Tower of Jewels by Night. J. L. Padilla, photoPalace of Liberal Arts--Elephant Fountain Niche by Night. W. Zenis Newton, photoThe Tower of Jewels--The Great Roman Archway. W. Zenis Newton, photoThe Tower of Jewels--Colonnade, The Fountain of Youth. W. Zenis Newton, photoThe Palace of Manufactures--Portal, From the South Gardens. W. Zenis Newton, photoCourt of Flowers--Fountain, Beauty and the Beast. J. L. Padilla, photoCourt of Flowers--Portal of Varied Industries. W. Zenis Newton, photoCourt of Flowers--A Vista in the Colonnade. William Hood, photoCourt of Flowers--Italian Tower from Colonnade. W. Zenis Newton, photoCourt of Flowers--The Friendly Lion at the Portal. Jesse T. Banfield, photoPalace of Varied Industries--Main Portal. Cardinell-Vincent, photoAvenue of Palms--The South Facade by Night. Cardinell-Vincent, photoAvenue of Progress--The Fine Vista to the Marina. W. Zenis Newton, photoMachinery Hall--The Central Arch in the Portal. W. Zenis Newton, photoMachinery Hall--The Colonnade in the Portal. W. Zenis Newton, photoMachinery Hall--One of the Minor Entrances. W. Zenis Newton, photoPalace of Mines--A Lamp Niche in the Court. W. Zenis Newton, photoCourt of Ages--The Tower by Night Illumination. William Hood, photoCourt of Ages--The Fountain of Earth. Pillsbury PicturesCourt of Ages--The Garden of Hyacinths. W. Zenis Newton, photoCourt of Ages--A Glimpse from the Colonnade. W. Zenis Newton, photoCourt of Ages--A Vista in the Colonnade. W. Zenis Newton, photoCourt of Ages--The Tower through North Aisle. W. Zenis Newton, photoFlorentine Court--Palace of Transportation. W. Zenis Newton, photoCourt of the Universe--Through Three Great Arches. W. Zenis Newton, photoCourt of the Universe--Triumphal Arch, The Setting Sun. W. Zenis Newton, photoCourt of the Universe--Triumphal Arch, The Rising Sun. Court of the Universe--Fountain of the Rising Sun. Pillsbury PicturesCourt of the Universe--Fountain of the Setting Sun. W. Zenis Newton, photoCourt of the Universe--The Fountain Pool and Tower. James M. Doolittle, photoCourt of the Universe--Corinthian Colonnade and GardensCourt of the Universe--In the Promenade by Night. Jesse T. Banfield, photoCourt of the Universe--A Niche and Urn by Night. Jesse. T. Banfield, photoPalace of Transportation--In the Corinthian Colonnade. W. Zenis Newton, photoVenetian Court--Palace of Agriculture. James M. Doolittle, photoCourt of the Four Seasons--The Night Illumination. William Hood, photoCourt of the Four Seasons--The Great Half Dome. Jesse T. Banfield, photoCourt of the Four Seasons--The Western Archway. W. Zenis Newton, photoCourt of the Four Seasons--One of the Colonnade Murals. W. Zenis Newton, photoCourt of the Four Seasons--The Ionic Columns. Jesse T. Banfield, photoCourt of the Four Seasons--The Colonnade and Lawn. W. Zenis Newton, photoCourt of the Four Seasons--The North Colonnade by Night. W. Zenis Newton, photoPalace of Food Products--The Portal from the Gardens. W. Zenis Newton, photoPalace of Food Products--A Detail of the Main Portal. W. Zenis Newton, photoThe Esplanade--North Facade, Column of Progress. W. Zenis Newton, photoNorth Facade--A View from the Bay. Pillsbury PicturesPalace of Food Products--A View from the Fine Arts Laguna. Jesse T. Banfield, photoPalace of Education--A View from the Fine Arts Laguna. Cardinell-Vincent, photoPalace of Education--The Half Dome of Philosophy. W. Zenis Newton, photoPalace of Education--The Fountain in the Portal. W. Zenis Newton, photoAdministration Avenue--The Fine Arts LagunaPalace of Fine Arts--The Rotunda and Laguna. Jesse T. Banfield, photoPalace of Fine Arts--The Rotunda and Peristyle. W. Zenis Newton, photoPalace of Fine Arts--The Peristyle and LagunaPalace of Fine Arts--In the Peristyle Walk. W. Zenis Newton, photoPalace of Fine Arts--The Rotunda from the Peristyle. W. Zenis Newton, photoPalace of Fine Arts--The Peristyle Walk by Night. Jesse T. Banfield, photoPalace of Fine Arts--A Fountain in the Laguna. W. Zenis Newton, photoPalace of Fine Arts--A Picturesque Garden Fountain. Jesse T. Banfield, photoPalace of Fine Arts--The Garden and Fountain of Time. Jesse T. Banfield, photoCalifornia Building--Bell Tower and Forbidden Garden. California Building--The Arches of the Colonnade. W. Zenis Newton, photoCalifornia Building--A Vista in the Colonnade. W. Zenis Newton, photoCalifornia Building--The Forbidden Garden. Hilda Van Sicklen, photoCalifornia Building--The Semi-Tropical Garden. W. Zenis Newton, photoNetherlands Pavilion--As Seen from the Laguna. Pillsbury PicturesItalian Pavilion--The Piazzetta Venetia. Cardinell-Vincent, photoItalian Pavilion--In the Court Verrochio. James M. Doolittle, photoAvenue of the Nations--Tower of Sweden's Pavilion. W. Zenis Newton, photoThe Esplanade--A View of the Foreign Pavilions. W. Zenis Newton, photoThe Esplanade--A View of the State Buildings. W. Zenis Newton, photoThe Zone--A Holiday Gathering The ZoneThe Bizarre Decorations. J. L. Padilla, photoThe Fireworks--Star Shells and Steam Battery. Jesse T. Banfield, photoZone Salvo--The Final "Big Noise. " Jesse T. Banfield, photo The Architecture and Landscape Gardening of the Exposition The Architecture & Landscape Gardening When San Francisco was destroyed by fire in 1906, many people predictedthat the city would never be rebuilt. A great number of men and womenpacked their goods and chattels and hastily bade farewell to the stillsmoking ruins of a City That Was, firmly believing that destiny haddetermined that it should remain forever buried in its own ashes. There was another class of men and women who were optimists. Theypredicted that the city would be rebuilt, but that it would require fromtwenty to thirty years. There was still another class of men and women who knew by observationthat it required no more time to build ten buildings than one, providedthe Spirit of Energy and Determination existed, to fortify the desire. We all know now that the Spirit of Energy and Determination did aboundin San Francisco--that the City did not remain buried in its own ashes, and that it did not require from twenty to thirty years to rebuild it. The City was not only rebuilt in less than ten years, but, in additionthereto, an International Exposition, surpassing all previousExpositions, was built by its people. San Francisco wisely selected for the location of this InternationalExposition what seemed to many to be an impossible site, for it wasdisorderly and uninteresting to look at. But the site was appropriatelysituated on the shores of San Francisco Bay--beautiful in itssurroundings and most convenient alike to its citizens and visitors. Itconsisted of a pond and a strip of waste land and marsh land, apparentlydestined to remain unfilled and unorderly for years to come. The Peopleof Energy, Determination and Desire have also made this strip of wasteland permanently available. The arrangement of this Exposition is distinctive because of its CourtPlan. Eight Palaces seemingly constitute a single structure, containingfive distinct courts or places for large public gatherings, which areopen to the sky. This colossal group of buildings, consisting of the Palaces ofEducation, Food Products, Agriculture, Liberal Arts, Manufactures, Transportation, Mines, and Varied Industries, is terminated east andwest by Machinery Hall and the Palace of Fine Arts. To the south of thisgroup, and on the lateral axis of the two end courts, are the Palace ofHorticulture and Festival Hall. This group of eight buildings, with itsTower of Jewels, and the separate buildings, Festival Hall, the Palaceof Horticulture, the Palace of Fine Arts and Machinery Hall, constitutethe main structures. The buildings and gardens of Foreign Countries and of the States of theUnion adjoin, at their western termination, the thirteen main structureserected by the Exposition Company. Still further west, are the LivestockBarns and Poultry Houses. The Aviation, Military and Polo Fields, including the Race Course, occupy the extreme end of the site. Theamusement section, "The Zone, " extends for a distance of seven cityblocks eastward from the main group. President C. C. Moore of the Exposition first appointed an AdvisoryArchitectural Board, in the fall of 1911, consisting of Messrs. WillisPolk, Clarence R. Ward, John Galen Howard, Albert Pisses and WilliamCurlett. This Advisory Board was succeeded by an ArchitecturalCommission, consisting of Messrs. Willis Polk, Chairman, Clarence R. Ward, W. B. Faville, George W. Kelham, Louis Christian Mullgardt (all ofSan Francisco), Robert D. Farquhar of Los Angeles, McKim, Mead andWhite, Carrere and Hastings, and Henry Bacon (all of New York); Messrs. Bakewell and Brown and Bernard R. Maybeck were subsequently commissionedas Exposition Architects. The first named nine architects constitutedthe permanent Architectural Commission which recommended to the Board ofDirectors the General Plan of the Exposition, which was substantiallyfollowed as a guide to the results accomplished. Three important elements in the design of an Exposition are representedby Planting, Sculpture, Color and Decoration. The Chiefs of theseDepartments were selected by the Architectural Commission at its secondconference, August, 1912; John McLaren, of San Francisco, was appointedto the important position of Landscape Engineer; Karl Bitter and A. Stirling Calder of New York were appointed chief and assistant chief ofthe Department of Sculpture; Jules Guerin, of New York, became chief ofthe Department of Color and Decoration. The Chiefs of these departmentsattended the architects' conferences and collaborated in theirdeliberations. Another very important element in the design of this Exposition wasrepresented by the Department of Travertine Texture, for the propermanipulation of colored plastic materials to give correct surfaceexpression to all buildings and sculpture. This department was placedunder the direction of Paul E. Denivelle of New York. The element ofTexture as embodied in the construction of this Exposition, has againemphasized its general importance in plastic architecture. The Marina The north side of the main group is flanked by a greensward, called theMarina, which skirts the bay. This enormous green carpet is bordered bywalks and roadways. The Marina affords excellent opportunity forthousands of people to view special attractions offered daily along thewaterfront. War vessels and pleasure crafts are always just beyond thelow Marina wall. An uninterrupted view of the bay and its northern coastline of hills and mountains, extending from the Golden Gate, west toeast, as far as eye can reach, is here obtained under most favorableconditions. No one will ever forget the wonderful panorama which thisExposition faces. The South Gardens Flanking the south side of the main group is the marvelous Avenue ofPalms, which appears to have existed always. It was established A. D. 1914, by John McLaren, Landscape Engineer, as part of the most colossalsystem of successful transplanting ever undertaken in the history of theworld. The South Gardens adjoin the Avenue of Palms and extend to theExposition enclosure along the south boundary line, where a wall fiftyfeet high and ten feet wide has been erected of a solid green moss-likegrowth, studded with myriads of tiny pink star-like blossoms. This greatwall is perforated by simple arched masonry entrances, leading rough therichly planted foreground formed by the South Gardens. Basins of reflecting blue waters extend to the right and left of acentral fountain of colossal proportions. The basins themselves arepunctuated at their east and west ends by fountains of subordinate size, back of which are Festival Hall to the right and the Palace ofHorticulture to the left, as we enter the green wall portals from thecity of San Francisco beyond. To the south and west of the ForeignCountries, States Buildings and Gardens, a graceful contour of hillsextends, sloping onward to Golden Gate, and having a coxcomb of pine andeucalyptus. Broad vistas of city, forests, water, hills and mountainspresent themselves at every point. Gray, green, blue and lavender vistascome into view through portal, colonnade, and arch. The Palace of Fine Arts This impressive unit faces the rising sun with its colorful facade. Theplan of this composite structure suggests the Star and Crescent ofMohammed. The architecture shows a free interpretation of early Romanforms. It is, in fact, a purely romantic conception by ArchitectMaybeck, entirely free from traditional worship or obedience toscholastic precedent. Its greatest charm has been established throughsuccessful composition; the architectural elements have been arrangedinto a colossal theme of exceptional harmony, into which the interwovenplanting and the mirror lake have been incorporated in a masterly way. The entire composition bespeaks the mind of a romanticist, whoseproductions are swayed more by nature's glories than by scholastictradition. The Palace of Horticulture The appearance of this building so clearly expresses its purpose that adefinition of style promptly suggests the title of HorticulturalArchitecture. Its decorative spire-like finials resemble the cypress andpoplar. The clusters of floral ornaments and festoons reflect one of thefundamental purposes of decorative glory to which all plant life hasbeen decreed. The bulblike glass dome is like an enormous dewdrop ofbeautiful proportions and iridescent color. All this beauty wasconceived by Architects Bakewell and Brown, who have given full evidenceof their appreciation of the purposes to which this Palace was assigned. Festival Hall This structure counterbalances the Palace of Horticulture at the eastend of the South Gardens. Mr. Farquhar's interpretation of ItalianRenaissance in this interesting building is replete with charmingdetail; it is truly expressive of its festival purposes. It is seen tobest advantage when reflected in the South Garden Pool, from the circlesurrounding the Fountain of Energy, and from the Court of Flowers. The Palace of Machinery This colossal structure of Roman type was designed by Architects Wardand Blohme. It dignifies the east end of the main composition in a mostimpressive manner. Its general character is similar to the Roman bathsof Caracalla. The vestibules are particularly impressive, when viewedlongitudinally. The interior Roman vaulting, formed by myriad trusses, is similarly impressive in form and scale to the interiors of renownedexisting Basilicas. The surrounding tree, shrub and flower plantingalong the simple outer walls is rhythmically consistent with the Romanniches and entrances and lends added charm to the dignity of thistremendous structure. The cornices are especially noteworthy in theirdetail, scale and proportion. Outer Walls of the Group of Eight Palaces The impressive simplicity of the outer walls is enhanced by a successionand variety of portals, niches and arcades of Spanish and Italian originof great beauty. The simple dignity of the plain travertine wallsurfaces is heightened by tile-covered cornices terminated by pavilions. A rich foreground of rhythmic planting of trees, shrubbery and flowers, emphasizes the unity of the eight palaces, the corporate purposes ofwhich have been so successfully interpreted by Architects Bliss andFaville. The typical domes surmounting the eight palaces also express thesimilarity of purpose for which these palaces are intended. In depictingthe industrial arts, these domes lend an Oriental expression to theentire composition, consistent with the citadel character of the generalscheme. The banner poles, with their Oriental streamers, and theilluminating standards, set in the foreground planting of the outerwalls, lend a consistent festive character to these long facades. The Tower of Jewels The appellation "of jewels" became an addition to the original title, after the Tower was thus gorgeously arrayed. The Tower was contemplatedin conjunction with the main group of palaces, as a clue to thecomposition, and as of vital importance to the general plan. Itscomposite architecture can best be defined as of White and Yellow Racederivation. It clearly indicates a mingling of the architecturalcharacteristics of the people of the entire world, as the architects, Carrere and Hastings, probably intended. It gives definite expression tothe international purposes for which this Exposition is designed. Thejewel enrichments add effectively to its Oriental regal display. TheTower constitutes an indispensable integral in the unit composition. Itappears to best advantage under the mysterious effects produced by Mr. Ryan's night illumination. The Court of the Four Seasons This dignified, restful court of Roman classic character, designed byArchitect Henry Bacon, expresses the Season theme perfectly. Thealcoves, which symbolize the Four Seasons, are admirably conceived intheir relation to the entire composition. The arched side approaches ofthe colonnades and the colossal Roman niche at the south end togetherform a glorious composition which has been greatly enhanced by thearrangement of planting by Mr. Bacon. The Court of the Universe This colossal court of oval form, including the Avenue stretching to theMarina, is fundamentally Roman in architectural character, the stylebeing largely attributable to its splendid Colonnade and TriumphalArches. Its architectural style is also sympathetic to the Orient of theFar East along the Mediterranean, owing to its domed pavilions. The ovalSunken Garden is thickly planted with Hydrangeas, which constitute oneof the most gorgeous displays at the Exposition. The Tower of Jewels andthe Column of Progress at the North and South ends of this wonderfulCourt serve as integrals. McKim, Mead and White are the architects ofthis most important of all the Courts. The Courts of Flowers and Palms These two delightful courts, designed by Architect George W. Kelham, arelike great alcoves in the south wall of the main group. The Court ofFlowers faces Festival Hall, whereas the Court of Palms faces the Palaceof Horticulture. Each court is flanked at its outer angles by towers, which form an indispensable element in the south facade and in thecourts themselves. The general style is Italian Renaissance, suggestive, in the detail of its decoration and planting, of the symbolic intent ofthese courts. They are an important factor in the south facade of themain group. The Court of Ages This court is designed as an historical expression of the world's growthfrom infancy. It consists of a continuous arcade and vaulted ambulatoryalong four sides, and an altar-tower on its northern axis. The decorative motives employed on the surrounding arcade are ofconventionalized forms of prehistoric plant and animal life, expressiveof evolution. The altar-tower and fountain symbolize the human andanimal passions of the theme. The Gothic type of architecture of this court has not been accredited toany preceding period. Its general character supposedly resembles Spanishor Portuguese Gothic more closely than any other known style. The Court, including its avenue extending to the Marina, was designedand modeled by the writer of this article, Louis Christian Mullgardt. Over six hundred acres are comprised in the elongated site on which theExposition stands. Millions of people from all parts of the world havemade pilgrimage to this realm of phantasy, and many thousands more areon their way, determined to bask in the radiance of Good Will toward AllMankind, which this Mecca of Peace, Enlightenment, Beauty, andInspiration for a better and greater future gives forth. Its purposefulinfluence is destined to serve perpetually beneficent cause in thefurtherance of unified international humanitarianism after the ephemeralvision of this Phantom Kingdom has vanished. L. C. Mullgardt. Illustrations and Descriptive Notes of the Architecture and LandscapeGardening of the Exposition PanoramaExposition from Presidio Heights From the vantage point of Presidio Heights, one may see this panorama ofthe Exposition and catch the symmetry of arrangement in the walls of thepalaces, in the graceful lines of the towers and in the impressivecontour of the domes. The effect is largely due to the ground plan, distinguished for its balance and poise, which was designed by Mr. Willis Polk and Mr. Edward Bennett. The main palaces, eight in number, are built around three courts, producing an admirable compactness and unity. To the west of thiscentral block of buildings, is the Palace of Fine Arts, and to the east, Machinery Hall. The Palace of Horticulture and Festival Hall are locatedin the great South Gardens. The Zone lies in the extreme eastern wing ofthe grounds, and the corresponding section to the west is devoted to thePavilions of the Foreign Nations and of the States of the Union. Tower of JewelsThe Illumination by Night The Tower of Jewels, designed by Carrere and Hastings of New York City, is the centralizing and dominating feature of the Exposition. In itscolossal dimensions and in the imposing dignity of its position andconception, it seeks to embody, in one triumphal memorial, theimportance to the entire world of the opening of the Panama Canal; whilein architecture, sculpture, mural painting, decorative ornament andinscribed tablet, it celebrates, in varying form, the glory ofachievement. Classic influences inspired the great, central Roman arch, with itsmassive colonnades on either side and the Corinthian and Doric columns, repeated on successive tiers to the globe, upborne by four giantAtlases, which crowns the apex; but the spirit of conquest anddiscovery, which vitalizes the sculptured figures and mural paintings, is modern in its expression and in its historical fidelity. The Tower takes its name from the thousands of many-colored jewels socut, polished and suspended that they reflect the sunshine with dazzlingbrilliancy by day and at night, under the white radiance of thesearchlights, clothe the whole structure with shimmering splendor. Fountain of EnergyA View in the South Gardens It was a great undertaking to transform the waste acres of marsh andmudflats into a garden which would be an appropriate setting for theExposition palaces. Its success was due to Mr. John McLaren, whosereputation as a landscape gardener had long ago been established by hiswork at Golden Gate Park. Passing through the Scott Street Entrance, one sees first the SouthGardens, the really spectacular feature of which is the Fountain ofEnergy, designed by A. Stirling Calder. Flanking this main fountain arethe two smaller fountains crowned by the graceful mermaids designed byArthur Putnam. With their lovely pools and the splendor of gushingwaters, these three serve as the motif for the formal plotting of theSouth Gardens. Monterey pines and cypress, with acacia and a variety of floweringshrubs, are grouped with fine effect. Balustrades, ornamented withplant-filled urns, set off the great beds in which flora from widelyseparated parts of the world have been used. The successive plantings offlowers keep the gardens in continuous bloom--daffodils, tulips, pansies, begonias, dahlias, each in their turn. Festival HallSouth Gardens and Mermaid Pool At the eastern end of the South Gardens, south of the Avenue of Palmsand directly opposite the Court of Flowers which breaks the facade ofthe main group of buildings between the Palaces of Varied Industries andof Manufactures, stands Festival Hall, designed to furnish a center forthe Exposition conventions and musical festivals. From its character, the building takes not only its name, but its architectural anddecorative treatment. It was designed by Robert Farquhar of Los Angeles. The building, in its charm of line and the dignity and grace of itsproportions, reflects the best mood of the French Renaissance. The greatdome, with the smaller corner domes, suggests the Theatre des Beaux Artsin Paris. The graceful curve of the main portal, the Ionic columns, thedecorative corridors and the fine entrances are harmoniously andeffectively developed. All the sculpture, which is the work of Sherry E. Fry of Iowa, is classic in conception and happily sympathetic in itssuggestion of festivity or in its lyric quality. The floral scheme, inits, lavish massing of bloom and rich color, enhances the attractivenessof the building. Festival HallThe Terrace and Colonnade The rounding sweep of portico and pillar reveals the architectural styleof Festival Hall. In the sculpture and decorative friezes, an effect ofairiness has been achieved. Through the graceful arches, formed by Ioniccolumns, one notes the impressive windows, showing the French influence. The cupola, topped by the slender figure of the "Torch-Bearer, " gives aninviting charm to the side entrance, considered ornate but in accordwith the architectural design of the Palace. The site of Festival Hallis somewhat raised and the slopes that lead down to the Avenue of Palmsare in terraces of velvety lawn, broken by wide flights of steps. Oneither side of the main stairway are two sculptural groups, the "FlowerGirl, " before which, on one side, is placed an enticing "Pan" and on theother, a shy, girlish figure partially concealed in the shrubbery. Festival HallMermaid Pool in the Mist The skillful use of pools in which is secured the charming reflection ofpalaces and architectural structures, with the softening accompanimentof trees and shrubbery, is one of the pleasant features of theExposition. There is enchantment in a foggy day, for one sees as in a dream, lovelyvistas of courts, glimpses through consecutive arches, and always thecharm of mirroring pools and lagoons, where, should there be no wind, the reflected image makes as perfect a picture as the mist-enshroudedoriginal. Palace of HorticultureThe Dome and East Entrance The huge dome, constructed almost entirely of glass, upon a framework ofsteel, is the prominent feature of the Palace of Horticulture. It isFrench Renaissance, influenced by Byzantine, and its proportions (it isone hundred and fifty-two feet in diameter and one hundred andeighty-two feet high) are almost perfect. The spires and porticos, thecolonnades and entrances are replete with rococo decorations. There aregarlands of girls used in the friezes at the base of the minarets, caryatides repeated in the vestibules, and everywhere a wealth ofornamentation suggestive of a bountiful harvest. The brilliancy ofdesign is heightened by the color scheme of green and ivory used uponthe lattice work and travertine material. Messrs. Bakewell and Brown ofSan Francisco are the architects. Palace of HorticultureDome and Spires by Night At night, when the powerful searchlights within the dome are played uponthe translucent glass, the effect is magical, the reflections weirdlychanging in color and shape. The rich details of the decorations aresoftened in the night light. The slender shafts of the obelisksaccentuate the vast proportions of the dome. Even the rare colorcombinations, which add so much to the appearance of the Palace ofHorticulture by day, are scarcely dimmed beneath the artificiallighting. Minarets and sculptured friezes and the floral designs soabundantly used in the decoration are seen in fairy-like grace. Of this beautiful building Mr. Edwin Markham has written: "I looked atthe dome of the Palace of Horticulture and saw strange colors at playwithin its dark green depths. Circles and clefts of blue and red andgreen shifted, faded and returned like hues within a fiery and livingopal. It was the workshop of a maker of moons, who cast his globes aloftin trial flights. " Palace of HorticultureThe Colonnade on the East The caryatides, which are placed in pairs along the corridors of thePalace of Horticulture, were designed by John Bateman of New York. Thebalustrades, together with the ornamentations of garlands of fruits andflowers, convey the joyous note of a carnival. The ceiling of theporches is studded with domes, grilled with green latticework. From thecenter of these airy skylights are suspended lamps which, by night, convert the corridors into brilliantly lighted promenades. Horticultural GardensFloral Exhibit in the Open The Horticultural Gardens, lying south and west of the Palace ofHorticulture, are, in reality, exhibit gardens, where much of thedisplay belonging to the Palace itself is placed. While the decorativequality is here less emphasized than the more educational and technicalphases of horticulture, the gardens are at all times lovely with aluxuriance of bloom and with the effective massing of trees and shrubs. The display covers an area of eight acres, and experienced gardenershave united to develop the flora exhibited to a high degree ofperfection. The Netherlands Gardens, the Rose Garden, with itsInternational Rose Contest, the California Garden and others havecontributed a perpetual rotation of flowering plants and shrubs in greatvariety and with a profusion of brilliant color. In the Forestry Courtadjoining, Bernard Maybeck, the architect of the Palace of Fine Arts, has built a lumbermen's lodge of massive, rough-barked, redwood logs, but of the same charm of design and harmonious beauty of proportionwhich characterize his greater work. Avenue of PalmsView From Administration Avenue Looking down the Avenue of Palms from Administration Avenue, adelightful picture is presented. Double rows of palms border either sideof the Avenue, with ferns, and blossoming nasturtiums and geraniumsplanted directly in the interstices of the roughened trunks. The wallsof the palaces are embowered in eucalyptus, acacia and cypress trees. Add to this the effect of gaily decorated flagpoles, with pennants andbanners afloat in the breeze, and the half-mile boulevard isexhilarating to behold. Many of the shrubs and trees are common to all the palaces, but eachbuilding has been allotted a different collection of flowers andfoliage-plants to add a distinctive color tone to the facade. When oneexamines the general sweep of the palace walls facing the Avenue, certain architectural units are noticed. Centering each building is alow dome of Byzantine design, with green roof and warm pink sides. Onthe corners smaller domes break the monotony of straight lines. TheTower of Jewels and the four Italian Towers complete the inspiring"walled-city" effect. Palace of EducationMain South Portal The Palace of Education forms the southwest unit of the main group ofbuildings and fronts on the Avenue of Palms and Administration Avenue. To W. B. Faville of San Francisco was entrusted the entire exterior wallwhich unites in one immense rectangle the eight palaces of the maingroup. A plain cornice, edged with tiles, binds the upper rimthroughout. With great simplicity and restraint, the wall spaces arekept bare of ornament, depending for relief on carefully spaced portals, niches and wall fountains. The south facade of the Palace of Education is broken by three beautifuldoorways, of which the central is the largest and most richly decorated. The distinctive feature of the main portal is the tympanum in relief byGustav Gerlach of New York, which pictures the various stages ofeducation from the mother in the home, through the adolescent period, tomaturity, when the student is self-taught. Below is the book ofknowledge, the curtains of darkness drawn back that the light mayradiate from its open pages. Above the portal's curve is a globe, typifying the world-wide scope of the exhibit within. Palace of EducationOne of the Minor Entrances The main portal of the Palace of Education is flanked on either side bya smaller entrance partaking of the same beauty of design, alongslightly simpler lines, so that, while preserving a distinctindividuality, these minor entrances enhance and enrich the main doorwayand the three form a unit in their decorative treatment. The style isSpanish Renaissance, inspired by ancient models, and modified byByzantine influences. All three show the twisted Byzantine column, thoseof the main entrance being more ornate. The flat, sculptured panels inrelief above the smaller portals, by Charles Peters and Cesare Stea, respectively, both deal with educational subjects. The classic vases oneither side of the entrances add grace and dignity, while the latticeddoorways, used throughout the Exposition architecture, here effectivelyemphasize the Moorish note. The planting of trees and shrubs is nowherehappier than about these doorways, with the rose and mauve and smoketones of the fresh eucalyptus growth against the ivory-tinted wall andthe profusion of flowers and shrubs massed below. Court of PalmsThe Sunken Pool by Night Of the five chief courts of the main architectural ensemble, the twominor courts, the Court of Palms and the Court of Flowers, while lackingthe more imposing size, dignity and symbolism of the three interiorcourts, largely compensate by their sense of intimacy, warmth and quietcharm. With their sheltered location and sunny atmosphere, due tosouthern exposure, and with the enchantment of architecture, sculpture, painting, color and landscape effects with which they are richlyendowed, they are not only joyous and satisfying, but restful in anunusual combination and degree. Both courts were designed by George W. Kelham of San Francisco. The Court of Palms lies between the Palace of Education and the Palaceof Liberal Arts; enclosed on the third or north side by the Court of theFour Seasons, it is open on its southern exposure to the Avenue of Palmsand the Palace of Horticulture which lies directly opposite. It is along oval in shape, its proportions well balanced, and its effect ofdignity and quiet accented by the two sunken pools and the effectiveplanting of palms from which the court takes its name. Court of PalmsPortal, Palace of Education In architecture, the Court of Palms is Italian Renaissance. The entirelength of its oval is encircled by a colonnade, pierced by three deepportals which are identical in treatment and which are especially fineexamples of the Roman arch. Their dignity is enhanced by the Italiancypresses which flank them on either side. The portals open respectivelyinto the Palace of Education on the west, the Palace of Liberal Arts onthe east and the Court of the Four Seasons on the north. The colonnadeis bordered by massive Ionic columns of smoked ivory, which in theentrances deepen into Sienna marble. The plain cornice whichcharacterizes the outer walls of the exhibit palaces here takes on aricher ornamentation to conform to the ornate treatment of the Court, while it retains the parapet of red Spanish tiles above. Between thecornice and the columns is a wide and richly decorated attic or friezewhere much of the detail and color which help to make the charm of theCourt are massed. Court of PalmsPortal, Palace of Liberal Arts The sympathy between architect, sculptor and colorist is nowhere shownto better advantage than in the richly decorated frieze surrounding theCourt of Palms. Panels of veined marble in browns and pinks, deepeningthrough rose tints to red, are bordered by festoons and garlands offruit and flowers in varied shadings of blue and pink. Separating thepanels are caryatides, flushed pink, with long, pointed, folded wings. They were designed by A. Stirling Calder and John Bateman, while thespandrels over the curve of the portals are the work of Albert Weinert, as are also the graceful, classic vases on either side of the entrances, the latter banded in low relief by dancing bacchanalian figures, whilegrinning satyr heads finish the curved handles. In the arch of thedoorways, are three fine mural paintings, harmonizing in subject andcoloring with the spirit of the Court--"Fruit and Flowers, " by ChildeHassam, on the West, "The Pursuit of Pleasure, " by Charles Holloway, onthe east and "The Victorious Spirit, " by Arthur F. Mathews, on thenorth. Court of PalmsItalian Tower from Main Portal Terminating the colonnade at either side of the entrance to the Courtfrom the Avenue of Palms stand the Italian Towers, distinguished bytheir grace of line and proportion and their skill in the use of thepurest architectural forms of the Renaissance, no less than by thecharming manipulation of color and ornament. By their slenderness and bysimplicity of treatment they produce an effect of great height. Theywere inspired by the Geralda Tower of Seville. The deep-toned columns ofSienna marble used in the three Italian Portals also enrich the entranceto the towers. The prevailing pink and blue color tones which dominatethe court are delightfully accentuated in the diaper pattern decoratingthe rectangular wall spaces of the main portion of the towers. The upperdesign, repeated in each of the four corners, is modeled after theChoragic Monument of Lysicrates in Athens. The winged figure, "TheFairy, " lightly and gracefully poised upon the topmost pinnacle, is byCarl Gruppe. Court of PalmsIn the Colonnade by Night The illustration shows the colonnade which encircles the entire oval ofthe Court. The bordering columns are Roman Ionic in dull smoked ivory. The general wall tone is the same, with panels of soft pink between thepilasters. The vaulted ceiling is blue. The plants between the columnsare acacias, clipped to ball form. The swinging lamps are from old Romanmodels in pink and verde green. Classic figures are modeled in lowrelief above the arched openings. Looking north through the Court of the Four Seasons, with its long northcolonnade, is a superb vista across the wide blue waters of the bay tothe sweeping hills beyond. At the entrance to the court stands the onlypiece of sculpture not identified with the architectural treatment, "TheEnd of the Trail, " by James Earl Fraser, one of the strongest statues onthe grounds and perhaps the most popular. Court of PalmsA Curve in the Colonnade The careful details of the palaces and courts--the minute finishing ofcornice, column, frieze and vault, the loving modeling of sculpture, theartistic planning of vistas, the inspired brushing of murals--aremarvelous beyond my telling. It is an outpouring of the arts before thealtar of humanity. It is a presage of what men can do when they unite incommon service. The Exposition has taken a Titan stride toward this unified action for acommon purpose. The artists have bent to one perfect expression, likethe strings and brasses of an orchestra. Self was submersed in acomposite achievement, not obliterating individuality but leaving itlatitude to harmonize with others. The result is not the stenciling of aleader's mannerisms, but a blend of diverse and varied characteristics, an interweaving of sympathies, of spontaneous and ordered impressions. Here is an object lesson in the cooperative idea that will not be lostupon the world--the idea of a transcendent result obtained by a unityof noble efforts, a result that no massing of individual attempts couldhave achieved. --Edwin Markham Palace of Liberal ArtsPortal, From the South Gardens West of the Tower of Jewels is the Palace of Liberal Arts, balancing inarchitectural design and embellishment the Palace of Manufactures, whichlies directly east of the tower. The niches, entrances and main portalsof the two build are identical. Both were designed by W. B. Faville ofSan Francisco. Like all the buildings of the main group, the decorative treatment islargely massed in the great doorway, which is distinctly Renaissance inarchitecture, Spanish in general treatment, but Roman in the massivedignity of the square, deeply-arched portal. Its style is adapted fromancient models. The coloring within the arch and in the overlaidornament around and above it is a warm pink, effectively combined withturquoise blue and orange. The lace fan, of Moorish workmanship, abovethe doors, is especially beautiful in its delicate coloring and fragiletexture and in the touch of lightness that it gives. The pilasters oneither side of the entrance are Corinthian. The long frieze above thedoorway and the figures in the niches on either side are by MahonriYoung of Salt Lake City. Palace of Liberal ArtsThe Tower of Jewels by Night Either by day or by night, the Tower of Jewels is the dominating centerof the Exposition, epitomizing not only its entire meaning and message, but summarizing in detail its architectural development. In the main itfollows the Italian Renaissance, with emphasis upon the Greek and Romanelements, while in the ornament it employs many Byzantine features. The Tower is built in seven stages, rising tier on tier, the base amagnificent Roman arch, with colonnaded courts flanking it on eitherside. The Corinthian columns of the colonnades are ochre and on eachside of the archway, they are of Sienna marble. The sculptured figuresby John Flanagan, crowning the columns above the arch, represent in foursuccessive types the men who made Western America--the adventurer, thepriest, the philosopher, the soldier. They are repeated on each face ofthe Tower, the "Armored Horseman" by Tonetti, on the terrace above, being repeated four times on each side. The forms used in the decorativesculpture--the eagle, the wreath, the ship's prow, the various emblemsof war--all symbolize victory and achievement. Palace of Liberal ArtsElephant Fountain Niche by Night The ornamental fountain alcoves placed at intervals are importantdecorative features of the south walls. The shrubbery has been sogrouped about the niches that the details of the fountains are partiallyscreened. Upon closer investigation, one finds an elephant's head as thecentral object in one niche, alternating with a lion throughout theseries. They set snugly against the pink panel just over the flaringbasin of travertine wherein the water trickles. At night, these niches are flecked with shadows cast by the surroundingtrees. Electric lights, concealed beneath the water, shed a warm glowupon the head of the elephant in its frame of sculptured half columns. These fountain niches, designed by W. B. Faville, are in the sameSpanish style of architecture which characterizes the entire southfacade of the palaces. The Tower of JewelsThe Great Roman Archway Midway on the south face of the Tower of Jewels are inserted fourcommemorative tablets. The inscription on the panel at the left end ofthe colonnade reads as follows: 1501--Rodrigo de Bastides pursuing his course beyond the West Indiesdiscovers Panama. The Panel at the left of the central arch reads: 1513--Vasco Nunez de Balboa crosses the Isthmus of Panama and discoversthe Pacific Ocean. At the right of the central arch the panel reads: 1904--The United States succeeding France begins operations on thePanama Canal. The Panel at the right end of the colonnade is inscribed: 1915--The Panama Canal is opened to the commerce of the world. The Tower of JewelsColonnade, The Fountain of Youth Beyond the colonnades and the great Roman arch, on the north face of theTower of Jewels as it faces the Court of the Universe, are fourcommemorative tablets similar to those found on the south side. Thepanel at the left end of the colonnade is inscribed: 1542--Juan Rodriguez Cabrillo discovers California and lands on itsshores. The Panel at the left of the central arch reads: 1776--Jose Joaquin Moraga founds the Mission of San Francisco de Isis. At the right of the central arch the panel reads: 1846-The United States upon the outbreak of war with Mexico takespossession of California. The Panel at the right end of the colonnade is inscribed: 1850--California is admitted to the Union as a sovereign State. Palace of ManufacturesPortal, from the South Gardens The Palace of Manufactures lies directly east of the Tower of Jewels andfronts on the Avenue of Palms. In architectural design, it duplicatesthe Palace of Liberal Arts, the repetition giving strength andsimplicity to the entire south facade. The dignified main portal isflanked on either side by two minor entrances, similarly conceived andornamented, the lattice work within the archways relieving the solidityof the design. The composition of the Byzantine dome, with its tier of latticedwindows, the "Victory"--tipped gable, the tiled slope above the arch, the bare wall spaces and the richly ornamented doorway, as seen from theSouth Gardens, illustrates the general construction of the main group ofbuildings. The dome gives height and decorative effect, the "WingedVictory" lightness and grace. The latter figure, which is repeated onthe acroteria, as the gable platforms are called, of all the palaces ofthe main group, is by Louis Ulrich of New York. It bears, outstretched, a wreath which suggests the crown bestowed for work well done. Court of FlowersFountain, Beauty and the Beast Between the Palace of Mines and the Palace of Varied Industries lies theCourt of Flowers, enclosed on the third or north side by the Court ofAges and open on its southern exposure to the Avenue of Palms and toFestival Hall, which lies directly opposite. In its shape, a long oval, and in its location it is the eastern prototype of the Court of Palms, which breaks the wall of the main group of buildings toward its westernend. Like that, it was designed by George W. Kelham of San Francisco. Both Courts are rich examples of the Italian Renaissance, with traces ofByzantine influence, and while a superficial view might pronounce themalmost identical, a further study reveals marked individuality inconception and development. In each, the note of emphasis and thetemperamental appeal are entirely distinct. The Court of Palms issimpler, more dignified, more conventional. The Court of Flowers isricher in ornament and suggestion, more softly brilliant in atmosphere. The prevailing color is yellow relieved by pink. Court of FlowersPortal of Varied Industries In the Court of Flowers, the colonnade encircling the entire length ofits oval is bordered by Corinthian columns arranged in pairs. Thesmoked-ivory tone is used throughout, except in the portals, whereSienna marble gives a deep note of color. The highly ornamental florallight-standards between the columns occur elsewhere throughout thecourt. The cornice is edged with red Spanish tiles and above thecolonnade runs a richly decorated loggia that, with its suggestion ofsouthern influences, enhances the warm, sunny atmosphere of the court. The repeated figure of the flower-decked and garlanded "Flower Girl" isby A. Stirling Calder. A conventionalized frieze in delicately coloredarabesque runs between the balcony and the columns, the prevailing motifof which is the griffin. The colonnade is broken by three portals, opening respectively into the Palace of Manufactures on the west, thePalace of Varied Industries on the east and the Court of Ages on thenorth. These entrances, while they do not interrupt the colonnade below, as is the case in the Court of Flowers, are made the keystones of theornament of the upper balcony, where the triple arches, with theirdecorative treatment, furnish an effective break in the loggia. Court of FlowersA Vista in the Colonnade The coupled Corinthian columns are of smoked ivory. The background ofthe wallspaces is the same, but between the pilasters, occur panels ofwarm pink. The pilasters are in pairs to harmonize with the pillarsbordering the colonnade. In the portals swing Roman lamps in dullblue-green. The heavy bronze lanterns, suspended from the deep-tonedcream ceiling of the corridors, are Italian in design. At night, theyare illumined by a soft, red glow, while the light from the standardsbetween the columns and through the latticed doors of the entrances ofthe palaces is pale gold. There is no direct lighting in the court, theonly other illumination being the deep red diffusive flow whichbrightens the Italian towers from within, so that the warm, bright charmpervading the Court by day, gives way at night to a sense of seclusionand intimacy that makes a poetic appeal equally strong. Court of FlowersItalian Tower from Colonnade The four Italian Towers, equally distant from the Tower of Jewels, twoon either side, furnish the chief elements in the fine sense of balanceand proportion of the south facade of the main group of palaces. Occurring in in pairs at the entrances of the Court of Palms and theCourt of Flowers and employing the same architectural elements anddecoration, they show a pleasing variety in detail. The towers of theCourt of Flowers have more of simplicity in design and give an evengreater impression of height by the arrangement of columns. The samefairy by Carl Gruppe crowns all four towers, and helps to give the nameof "the fairy courts" by which they are sometimes called. By theoriginal design these two courts were to embody the fairy lore of theOccident and of the Orient, and the Court of Flowers, with the magic ofits golden blossoms and its friendly beasts, enters far into theconception. Court of FlowersThe Friendly Lion at the Portal With all its loveliness of detail and witchery of color, the prevailingcharm of the Court of Flowers, true to its name, lies in the effectiveplanting of flowers and shrubs. The main path through the Court isbordered on either side by spreading lophantha trees, trimmed four feetfrom the ground and branching to a diameter of five feet in delicate, lacy foliage. Masses of flowers in the pervading luxuriant color-tonecarpet the whole court with gold, while banks of green fill the cornersand outline the borders. The six "Friendly Lions" with theirconventionalized garlands, by Albert Laessle of Philadelphia, guard thethree entrances, one on either side. "Beauty and the Beast, " the centralfountain which dominates the Court, is by Edgar Walters of San Francisco. The basin is upheld by four alternating fauns and satyrs and about thebase of the fountain is a procession of beasts in low relief. The statueof "The Pioneer" by Solon Borglum, which stands at the entrance of theCourt, while it bears no relation to the symbolism of the Court itself, is a companion to "The End of the Trail" which occupies the same positionbefore the Court of Palms. Palace of Varied IndustriesMain Portal The central portal on the south facade of the Palace of VariedIndustries is by many considered the finest doorway at the Exposition. It is a copy of the Hospital of Santa Cruz at Toledo, done in theSpanish Renaissance, of a style known as the plateresque. The richappearance has the effect of being exquisitely chiseled with scroll-likefinish, reminding one of the workmanship of a silversmith. The sculptured ornamentations of the portal are the work of RalphStackpole. He is most fortunate in his treatment of the industrialtypes. The relief panel in the tympanum represents the industries ofSpinning, Building, Agriculture, Manual Labor and Commerce. "The Man with the Pick, " seen on the side brackets, is a freely modeledstatue, also appearing upon the portal of the Palace of Manufactures. The keystone figure typifies the Laborer, who is capable of relying onhis brain. The upper group represents Age transferring his burden toYouth. Avenue of PalmsThe South Facade by Night Facing the Avenue of Palms is the stupendous wall formed by the Palacesof Varied Industries, Manufactures, Liberal Arts and Education. Thislong and imposing bulwark is over-topped by the great Tower of Jewelsand the two pair of Italian Towers. The walls of the palaces, ivorytinted and shadowed by palms, eucalypti and myriad shrubs, assume a newand more wonderful aspect under the batteries of the searchlights. Thetowers stand out against the night sky, glowing with the hidden lightslike living coals, changing to pastel tints of blue and green, mostbeautiful of all when the reflectors convert them into shafts of white. The lamps along the Avenue punctuate the dark masses of foliage, and thecontrasting high lights on towers and domes make an artificialillumination that for sheer beauty has never been equalled. Avenue of ProgressThe Fine Vista to the Marina Spaciousness characterizes the Avenue of Progress, not only in itsbreadth but in its sweeping length. From the Fillmore Street entrance, which opens directly upon the Avenue, it appears to extend across thebay and on to the hills beyond. The Service Building is upon the leftand from the opposite side comes the fanfare of the "Joy Zone. " ThePalace of Machinery is on the eastern side of the Avenue, and on thewest are the Palaces of Varied Industries and Mines. The landscape gardening is here most successfully carried out. Dracenaindivisa, a species of palm, are planted at short intervals throughoutthe length of the boulevard. Against the dull buff of the palace wallsare banked Monterey cypress and Lawson cypress, with a heavy undergrowthof fir and spruce. The attractive lawns add a touch of formality to theimpressive Avenue. Whatever effect of newness might have appeared in thewalls of the great palaces is mellowed by Guerin's colors and there is asplendid atmosphere of enduring solidity, softened by the picturesquegardens. Machinery HallThe Central Arch in the Portal The Palace of Machinery extends for nearly one thousand feet along theAvenue of Progress. Its main entrance, facing the west, is composed ofthree splendid arches, set off by free-standing columns, which resembleweather-stained shafts of Sienna marble and are the pedestals for thesculptured figures representing the powers of "Invention, ""Electricity, " "Imagination" and "Steam. " On the inner facade of thearches are grills of amber glass, forming a strong background for thedecorative friezes and sculptured eagles, the latter being symbols whichpredominate throughout the Exposition. Dwarf cedars serve to magnify, bycomparison, the gigantic dimensions of this entrance. Daniel ChesterFrench's commanding statue, "The Genius of Creation, " occupies aprominent place before the central arch. Machinery HallThe Colonnade in the Portal The dimensions of the main entrance to Machinery Hall are in keepingwith the size of the building, which is the largest wooden framedstructure in the world. Architecturally the style is after the ancientRoman, the motif being supplied by studies of the baths of Caracalla. The decorative designs in the vestibule are sculptured figures andaccompanying insignia typifying the manufacture and use of machinery byman. The relief figures of the spandrels are forcefully executed. Aboutthe base of the pillars are friezes, symbolic of mechanical invention. These relief designs are the work of Haig Patigian of San Francisco. This great archway is one of the most interesting achievements, from anarchitectural standpoint, to be found at the Exposition. The spacecovered is large, yet so cleverly handled that no bareness is suggested. The coloring within the vestibule is in shades of blue, and the massivepillars supporting the three arches are toned in rich terra cotta. Machinery HallOne of the Minor Entrances Flanked by Corinthian columns which reflect, in smaller size, the greatpillars of the main entrance, four minor doorways break the long westernwall of the Palace of Machinery on either side of the central entrance, the architectural and sculptural design in them being similar to that ofthe main portal. The frieze in low relief, encircling the bases of thecolumns and representing the genii of mechanics, is repeated from thelarger entrance, as are also the figures in the spandrels, typifying theapplication of power to machinery. The color treatment of these doorways is especially brilliant. TheCorinthian columns simulate Sienna marble. The background in thespandrels is stained a rich orange. The shell canopy, as in other panelswhere it is used throughout the Exposition, is in cerulean blue, thewall space beneath it is a deep pink, while the door is the customarygreen. The landscape planting along the entire wall is superb. Against theivory-tinted background, various species of evergreens are grouped withconsummate skill. Palace of MinesA Lamp Niche in the Court The Court of Mines, opening directly across from the main portal ofMachinery Hall, is the entrance to the inner courts from the Avenue ofProgress. The effective massing of the shrubbery is enlivened by the gaybanners and streamers, designed by Jules Guerin, which are one of themost stimulating decorative features of the Exposition. The walls oneither side are broken by the entrance portals to the buildings, done inItalian Renaissance style. Their distinctive features are the niches oneither side of the entrances, in which are placed vigorous figures, designed by Albert Weinert, and the ornamental lamps below. The court isilluminated at night by concealed light thrown on the walls fromreflectors in the forms of interesting green shells resting on shapelystandards. Court of AgesThe Tower by Night Illumination The Court of Ages was designed by Louis Christian Mullgardt of SanFrancisco. Of all the Exposition courts it is the most original andimaginative in conception, the most complete in its organic, structuralunity, the richest in ornament, in poetic suggestion, in the depth anddramatic appeal of its symbolism. The Court suggests many architectural periods and types, yet eludesclassification under any one of them. The Gothic clearly predominates, with traces of English, Spanish, and Portuguese elements. With furtherhint of Romanesque, of Moorish and of French influence, these varyingelements have been so fused in the imagination of the architect that theresultant creation is independent of all of them in its daring, yetrestrained, originality. In the magnificent square tower at the centerof its northern end, all the beauty and spiritual import of the Courtculminate. Its aspiring length of line, unbroken from base to summit, faces poise and uplift, the broad, plain surfaces give nobility andstrength and the exquisite richness and delicacy of the ornament givelightness and grace, while the sculpture blends and crowns the deeppervading symbolism of the Court. -Maud Wotring Raymond Court of AgesThe Fountain of Earth While it is possible to find keen enjoyment in the Court of Ages for itsdelicate beauty and exquisite refinement alone, even the slightest studyof its architectural and sculptural detail reveals a depth of underlyingpurpose and meaning that invites further analysis. The architect callsit "an historical expression of the successive ages of the world'sgrowth. " He suggests four stages: the nebulous world, symbolized by thecentral fountain, in which Robert Aitken of San Francisco has worked outa stupendous study of primeval passions. Out of chaos, come theelemental forces, Water, Land and Light. The braziers and cauldronssymbolize Fire. The two sentinel columns, flanking the tower on eitherside, are Earth and Air. The eight paintings, by Frank Brangwyn ofLondon, in the corridors in great richness of color depict Earth, Air, Fire and Water. Thus the first state is indicated. The second stage is symbolized by the decorative motifs employed on thearcade surrounding the court, where on piers, arches, reeds and columns, in marvelously wrought sculptural ornament, is shown the transition fromplant to animal life through kelp, crab, lobster and other sea animalsand shell motifs. --M. W. R. Court of AgesThe Garden of Hyacinths Following the symbolism of the Court of Ages through the first nebulousperiod of the world's growth, through the second, which shows thetransition in successive forms of sea-plant life, the third period isreached where are illustrated the earliest forms of human, animal, reptile and bird life prevailing in the stone age. This age isindicated, in the court, by the prehistoric figure surmounting the piersof the arcade and by the first sculptured group over the entrance to thetower. The repeated arcade figures, which were designed by AlbertWeinert, represent alternately Primitive Man and Primitive Woman. The perfection of the landscape planting and the skill with which itsubtly accentuates the meaning of architecture and sculpture are worthyof study. In the background, close against the piers of the arcade, tall, slender Italian cypresses emphasize their rhythmic length of line. Amid a growth of tropical luxuriance stand glossy-leafed orange treesladen with fragrant blossoms and golden fruit. Balled acacias in formalrows outline the paths, while a succession of plantings has given avarying color scheme and a new perfume to each season. --M. W. R. Court of AgesA Glimpse From the Colonnade The Court of Ages is the only one of the Exposition courts which isentirely independent of outside influences. The other courts derivebreadth of appeal from the fine vistas through arched gateways or alongdignified colonnades. The Court of Ages is shut in upon itself by thearcaded and vaulted ambulatory which extends continuously around itsfour sides, and by this cloistered effect, its individual impression isdeepened and intensified. Through the lovely rounded arches of this encircling colonnade, which iselevated a few feet, one looks down into the beauty of the court, or outacross it to the richly fretted walls. In the curve of each arch, hangtwo delicately modeled lanterns. --M. W. R. Court of AgesA Vista in the Colonnade The cloistered effect of the long colonnade surrounding the four sidesof the Court of the Ages is deepened by the vaulted ceiling, which, inits Roman simplicity of line, contrasts effectively with the filigreedexterior of the arcade. The only color in the court, aside from a slight use in the tower andthe massed luxuriance of flowers, is found in the corridors where, between the square pilasters, the prevailing old ivory is stained pinkof a deeper tone than in the other courts. The ivory pilasters arecarried up into the ceiling in curving, transverse arches, while theband of blue, following their edges, leads to the rich blue depthsbetween them. At the far end of every vista glows the riot of color inthe mural paintings by Frank Brangwyn. The play of sunlight through thesuccession of rounded arches increases the sense of bright charm. --M. W. R. Court of AgesThe Tower Through North Aisle In the North Court of Ages, leading to the Esplanade, the tower isidentical with the main court, and the entire architectural treatment, while simpler, is in the same spirit. Robbed of the complex symbolism bywhich, in the larger court, the evolution of the lower forms of life isdepicted, the higher spiritual lesson is here intensified. Thesculptured groups in the tower, by Chester A. Beach of San Francisco, represent the rise of humanity through successive ages of civilization. The conventionalized lily petals decorating the summit of the towersuggest the highest forms of plant life. The delicate lace-like finials, rising from the highest points of court and tower alike, expressaspiration. The chanticleers on the finials surrounding the courtsymbolize the dawn of Christianity. The star-like clusters of lights, raised aloft, two in the main courtand four in the north court, deepen the ecclesiastical atmosphere bysuggesting the golden monstrance emblematic of the rays of the sun andof the radiating presence of God, and used in the Catholic Church as areceptacle for the sacred host. --M. W. R. Florentine CourtPalace of Transportation The Florentine Court and the Venetian Court lie east and westrespectively of the Court of the Universe. They are sometimes called theAisles of the Rising and the Setting Sun. While in reality onlyconnecting avenues, the wealth or careful detail lavished upon themmakes of them charming interludes between the larger and more imposingcourts, and yet so skillfully do they conform to the general plan thatthey blend one larger court with another, without expressing a distinctindividuality of their own. They were planned by W. B. Faville of SanFrancisco. While identical in design upon three sides, their adaptationupon the fourth side to the courts which they adjoin, east and west, andthe variety in landscape effects, insure against exact duplication. The Florentine Court lies between the Court of Ages and the Court of theUniverse, with the Palace of Transportation bounding it on the north andthe Palace of Manufactures on the south. Its eastern wall repeats therich decorative treatment of the Court of Ages, which it joins. Court of the UniverseThrough Three Great Arches When one stands in the Court of the Four Seasons, facing east, twosplendid arches are seen framed by the Eastern Gateway of the Court. Thefirst, across the Venetian Court, is the Arch of the Setting Sun, surmounted by its symbolic group of the Nations of the West. Across thevast Court of the Universe, beyond the Fountains of the Rising and theSetting Sun, is the triumphal Arch of the Rising Sun surmounted by itssymbolic group of the Nations of the East. These magnificent modern expressions of the arches erected by the oldRomans to commemorate their triumphs were designed by McKim, Mead andWhite, the architects of the Court of the Universe, and are richlyadorned with sculpture designed by various artists. In the attics arecarved appropriate inscriptions selected by Porter Garnett, which willbe found on succeeding pages. There is an atmosphere of bigness about the Court of the Universe, created not only by the architectural features, but by the symbolism ofthe final meeting of the Nations of the World, made possible by thecompletion of the Panama Canal. Court of the UniverseTriumphal Arch, The Setting Sun The magnificent mass of the Western Arch is heightened at night by theeffective illumination. Shafts of white light from concealed projectorspick out, the sculptured group that surmounts it. The bulk of the archcatches only the rays from minor lamps within the court and upon thisshadowy pedestal, the group of the Nations of the West stands out instrong relief. Below, the ceilings of the arch and corridors arebrilliant from concealed lights placed within them. Court of the UniverseTriumphal Arch, The Rising Sun The triumphal arches which by night gain in majesty and mysteriouspower, by day have the added beauty of the color manipulation anddecorative treatment, which is exceedingly rich and varied. The twisted columns of Sienna marble which flank the arch, two on eitherside, are composite, mingling Corinthian and Ionic elements. Each columnis crowned with a sculptured figure, representing the "Angel of Peace"by Leo Lentelli. Between the columns, set in a square of deep pink, is aburnt orange medallion, the figures in relief, suggesting Nature andArt, being designed by A. Stirling Calder and B. Bufano. On either side of the curve of the arch, latticed windows in green givea Moorish touch. The figures in the spandrels, representing Pegasus areby Frederick G. R. Roth. A frieze in relief, bands the arch beneath theinscription, while Cleopatra's needle, four times repeated, gives heightand classic emphasis to the crenellated parapet out-lining the summit. The sculptured groups "The Nations of the East" and "The Nations of theWest" are the joint work of A. Stirling Calder, Frederick G. R. Roth andLeo Lentelli. Court of the UniverseFountain of the Rising Sun In the eastern portion of the sunken garden is the Fountain of theRising Sun. The tall, slender shaft, a column of travertine by day and acolumn of light by night, supports a sphere upon which is poised astatue typifying the dawn of day. Adolph A. Weinman is the sculptor ofthis "Rising Sun" which is so deservedly popular on account of theirresistible appeal of the youthful figure. Everything about the fountain is indicative of the vigor of youth, theenergy associated with the rising of the sun. The friezes about the baserepresent the triumph of light over darkness, and the merry play ofwaters suggests perpetual activity. The concrete bowl is of goodlyproportions and within the pool are sculptured figures representingmythical creatures of the ocean. Bordering the fountain are gardens, at first ablaze with rhododendrons, then massed with the pink blooms of hydrangeas, and later bright withthe flowers of each successive season. Court of the UniverseFountain of the Setting Sun Quite as lovely in every detail as the preceding is the Fountain of theSetting Sun. It is in the opposite portion of the sunken garden where, when the sun is in its descent, it is shadowed by the Triumphal Arch ofthe Nations of the West. Crowning the pillar is the figure of a maid, her drooping wings andlanguorous pose denoting relaxation, a suspension of the day's toil. This statue was also modeled by Adolph A. Weinman. The supporting shaftconveys an impression of buoyancy and there are friezes above and belowthe bowl of the fountain similar to those of the Rising Sun. At nightthe columns which support these figures are aglow with concealed lights, and the beauty of the fountain is wonderfully enhanced. Court of the UniverseThe Fountain Pool and Tower The inscriptions on the two Triumphal Arches in the Court of theUniverse are drawn respectively from Occidental and Oriental literature. It was designed that the large central panels possess a cosmical, anepical, or an elemental quality, and that the smaller panels on eitherside deal with abstractions, such as truth, nature or beauty. Inaccordance with this plan, the inscriptions on the Arch of the SettingSun facing away from the court are as follows: The panel at the left of the attic, representing Italy, reads The world is in its most excellent state when justice is supreme. --Dante. The panel in the center of the attic, representing Germany, is inscribed It is absolutely indispensable for the United States to effect a passagefrom the Mexican Gulf to the Pacific Ocean; and I am certain that theywill do it. Would that I might live to see it--but I shall not. --Goethe. The panel at the right of the attic, representing France, reads The Universe, an infinite sphere, the center everywhere, thecircumference, nowhere. Pascal. Court of the UniverseCorinthian Colonnade & Gardens The inscriptions on the Arch of the Setting Sun, facing the Court, areas follows: The panel at the left of the attic, representing England, reads In nature's infinite book of secrecy a little I can read. --Shakespeare. The panel in the center of the attic, representing America, reads Facing west from California's shores, Inquiring, tireless, seeking what is yet unfound, I, a child, very old, over wavesTowards the house of maternity, The land of migrations look afar, Look off the shores of my western sea, The circle almost circled. --Whitman. The panel at the right of the attic, representing Spain, is inscribed Truth, witness of the past, councillor of the present, guide of thefuture. --Cervantes. Court of the UniverseIn the Promenade by Night The inscriptions on the Arch of the Rising Sun, facing the Court, are asfollows: The panel at the left of the attic, representing China, is inscribed They who know the truth are not equal to those who love it. --Confucius. The panel in the center of the attic, representing India, reads The moon sinks yonder in the west, While, in the east, the glorious sunBehind the herald dawn appearsThus rise and set in constant change those shining orbsAnd regulate the very life of this our world. --Kalidasa. The panel at the right of the attic, representing Japan, reads Our eyes and hearts uplifted, seem to gaze on heaven's radiance. --Hitomaro. Court of the UniverseA Niche and Urn by Night The inscriptions on the Arch of the Rising Sun, facing away from theCourt, are as follows: The panel at the left of the attic, representing Arabia, reads He that honors not himself lacks honor wheresoe'er he goes. --Zuhayr. The panel in the center of the attic, representing Persia, is inscribed The balmy air diffuses health and fragrance, So tempered is the genial glow that we know neither heat nor cold. Tulips and hyacinths abound. Fostered by a delicious clime, the earth blooms like a garden. --Firdausi. The panel at the right of the attic, representing Spain, reads A wise man teaches, be not angry; from untrodden ways turn aside. --PhraRuang. Palace of TransportationIn the Corinthian Colonnade This promenade, formed by the vast portico of the Palace of Agriculture, is in harmony with the architectural scheme of the Court of theUniverse. It is the eastern wall of the aisle leading from the the maincourt to the Column of Progress. The shafts of the pillars are fluted and capped after the Corinthianorder. Terra cotta, mellow in tone, is the color which has been usedupon the travertine material of the columns, and the walls flanking themajestic array of pillars are painted a warm pink. The height of theceiling is intensified by its deep blue, which seems to blend with theazure of the sky, as one glimpses it through the far opening of thecorridor. Masked lanterns adorn the arched ceiling; on the columns areshell-screened lamps and at night the sweep of the promenade ismagnified by the indirect lighting effects. Venetian CourtPalace of Agriculture The great triumphal arches of the Central Court dominate the connectingaisles on either side, the Arch of the Rising Sun forming the west sideof the Florentine Court and the Arch of the Setting Sun the east side ofthe Venetian Court. All the splendor and dignity of architecturaltreatment and decorative ornament that enrich the arches as they facetoward the Court of the Universe are repeated on the reverse sides. The treatment of the side walls in the Florentine and Venetian Courts isidentical, displaying some of the most delightful features of theItalian Renaissance, with marked richness in the use of both color andornament. The walls are covered with a diaper pattern in pink and warmivory. Bright blue and deep orange stain the overhanging cornice. Thegreat windows are latticed and bound with green, the keystone of theirarches being a quaint figure with folded wings. Between the arches areinset blue Italian medallions. Between the windows are coupledCorinthian columns, their shafts richly overlaid with ornament afterpatterns suggested by the churches and palaces of southern Italy. Theplanting is profuse, with masses of green against the walls and a wealthof bloom, pink predominating in the Florentine Court and yellow in theVenetian. Court of the Four SeasonsThe Night Illumination The Court of the Four Seasons is the most restful, the most intimate andthe most harmonious of the three main courts, an effect produced by itsclassic simplicity and the charm of its architecture, sculpture andplanting. The long approach of the north court, which is entered from theEsplanade, is bordered by the stately colonnades of the Palace ofAgriculture on the east and the Palace of Food Products on the west. Thecolumns are Ionic, the decorative treatment of their capitals, and ofthe frieze above, being in fruits and grains, happily conventionalized. The green sward of the avenue is set, here and there, with fine yewtrees, while tall, slim eucalypti flank the entrance to the Court. The Fountain of Ceres designed by Evelyn Beatrice Longman, by the poiseof its crowning figure and by the grace and dignity of its entireoutline, no less than by its classic conception and fine architecturalfeeling, enhances the chaste beauty of the long vista whether seen byday outlined against the misty bay and the sweep of hills beyond, or bynight, silhouetted against the white rays of the scintillators which areplaced on the harbor's edge. Court of the Four SeasonsThe Great Half Dome The theme of the Court, the fruitfulness of the changing seasons, issympathetically rendered by architecture, sculpture and painting inhappy combination. The decorative forms all employ agricultural motives, and the sculptured groups or figures and the mural paintings arevariations of the same thought. In architecture, the Court, which was designed by Henry Bacon of NewYork, is almost severely classic, enriched in its minor details bytouches of the Italian Renaissance. The Half Dome, which lies directlyopposite the long northern approach, is modeled after Hadrian's villanear Rome. The decoration of the vault of the dome is influenced by thericher coloring of the Court of Palms into which it opens on its innerside, while the archway softens into lighter tones in harmony with themore delicate coloring of the Court of the Four Seasons. The fine balance of line and proportion which characterizes the Court isshown in the three sculptured figures by Albert Jaegers, --"Harvest, "the seated figure which fitly crowns the half dome, blending finely withits nobility and strength of outline, and "Rain" and "Sunshine, " whichsurmount the splendid columns of Sienna marble on either side of thedome. Court of the Four SeasonsThe Western Archway The east and west entrances to the Court are massive archways, mostsatisfying in their purity and dignity of architectural form andtreatment, as well as in the superb outlook which they give on eitherhand. The arches are divided by Corinthian pilasters of Sienna marble. Within, their vaulted ceilings are delicately colored and modeled infaint relief after ancient classic designs, suggesting harvest scenes. The spandrels in the triangles over the curve of the arch and the fourtimes repeated figures which serve as pilasters in the paneled atticspace above, are by August Jaegers. All are gracefully molded women'sfigures, and all alike are emblematic of the richness of the harvest. The signs of the zodiac letter the cornice between the arches and theattic. The inscription above the eastern gateway is from Spenser's"Faerie Queene, " and that over the western from "The Triumph of Bohemia"by George Sterling. The serenity and intimate seclusion of the Court are due perhaps morethan to any other single feature, to the quiet, circular pool in itscenter, shut in by banks of shrubbery and bare of sculptured ornament. Court of the Four SeasonsOne of the Colonnade Murals The Court is octagonal in shape, by reason of the fountains, screened bystately rows of columns, which fill its cornet recesses. These cornerfountains are distinctly Roman in inspiration, the detail beingsuggested by the baths of Caracalla. Between the double rows of massiveIonic columns runs the colonnade. The capitals of the columns areenriched by pendant ears of corn, surmounted by a single open flower. Above the severely treated doorways, in each recess, are two muralpaintings by Milton Bancroft, picturing alternately the seasonalpleasures and pastimes and their activities or industries. The murals, with the two in the half-dome, also by Milton Bancroft, are allconventionally classic, in keeping with the spirit and atmosphere of theCourt. Within the sheltered niches are the fountains of the four seasons, wherethe water, rose-tinted by day and a luminous green by night, slipssoftly and musically over three broadening semicircular terraces to thecool, green pool beneath. The sculptured groups, surmounting theterraced fountains, are by Furio Piccirilli of New York. The enclosingwalls are soft pink, the line where they join the blue vault of the skycharmingly broken by the living green of luxuriant, trailing vines. Court of the Four SeasonsThe Ionic Columns Through the columns is a glimpse of the Eastern Gateway where, carved inthree panels over the entrance, is the following inscription: So forth issew'd the seasons of the yeare, First lusty spring all dight in leaves and flowres. Then came the jolly sommer being dightIn a thin cassock coloured greene, Then came the autumne all in yellow clad, Lastly came winter, cloathed all in frize, Chattering his teeth, for cold that did him chill. --Spenser. The triple panel in the attic of the Western Gateway reads: For lasting happiness we turn our eyes to one alone, And she surrounds you now. Great nature, refuge of the weary heart, and only balm to breasts thathave been bruised. She hath cool hands for every fevered browAnd gentlest silence for the troubled soul. --Sterling. Court of the Four SeasonsThe Colonnade and Lawn The harmonious impression of the Court of the Four Seasons is duelargely to the faithfulness with which classic influences havecontrolled every detail, both in architecture and in ornament. Thebulls' heads between festoons of flowers which decorate the base of theentrances into the north court, the eagles at the corners of the pylonsabove, and the vases repeated on the balustrade about the Court are allRoman in design. Thoroughly classic also are the wreaths of fruits andgrains on the panel of the cornice and the lions' heads above. While"The Feast of Sacrifice, " the superb groups by Albert Jaegers, crowningthe pylons at either side of the entrance to the north court, recall theancient custom of celebrating the close of harvest by the sacrifice offlower-garlanded bulls. The planting of the court is quiet and stately, and notably carries outits spirit, with the gray-green of foliage plants and eucalyptus treesand the gnarled stems of gray old olive trees. In its vistas from anyangle or point of view, the Court is peculiarly satisfying andbeautiful. Court of the Four SeasonsThe North Colonnade by Night To stand in the midst of this curving octagonal court and hear, abovethe whisper of the trees, the murmur of the four hidden fountains thatgush unseen from the base of allegorical groups of statuary, glimpsedthrough colonnades, is to stand in Hadrian's villa of old, where we hear "Fitly the fountains of silver leap, Whose sound is as soft as the listless flowOf streams that forever linger and goDown delicate, dream-far valleys of sleep. " As in a dream, one looks down the last vista to the open rotunda andcrescent hemicycle of the Palace of Fine Arts beyond a lagoon thatmirrors them on its surface. Rising from the rich, green massing ofshrubbery and mossy banks, the rotunda lifts its proud head, encircledwith garlands of symbolical figures, as above a grove of Academe. Behindit the soft red walls of the place glow like the fading embers ofsunset. These courts, strung like a rope of pearls between the two polesof man's achievement--mechanics and art--are the heart of theExposition, and in them are treasures of color and form untold. --Edwin Markham Palace of Food ProductsThe Portal from the Gardens The north facade of the Palaces which line the Marina is bare almost toseverity, except for the rich adornment of the portals, the same detailbeing repeated for each palace. Spanish models served as the patternsfor these handsome doorways, the three fine arches, with theirsupporting columns, suggesting the earlier Spanish Gothic, while thedecorative features reflect the Moorish influence of a later period. The motif is appropriate for the waterfront, reminiscent as it is of theepoch of the Spanish Main. This hint is carried out in the sculpturedfigures in the alcoves above each arch. Allen Newman modeled them, giving to his work the dash and daring of the domineering conquistadorsand piratical deckhands of those stirring days. The portal here picturedleads directly to the Esplanade near the Gardens adjoining theCalifornia Building. Palace of Food ProductsA Detail of the Main Portal It requires several visits to the Exposition to become accustomed to thestupendous scale which has been followed, not only in the expansivelandscape gardening, but in the architectural plans. In this illustration, a faint conception is afforded of the proportionsof the main entrance to the Palace of Food Products. The doorsthemselves are of ample size, yet are dwarfed to insignificance by thelofty columns and vaulted ceiling of this delightful portal, which is areproduction from the Spanish Cathedral of Salamanca. The great archesare decorated after the plateresque style, and the spandrels abound ingarlands, horns of plenty and other goodly tokens. A Moorish note isdetected in the lacy network of the latticed windows. The domed ceilingsare painted blue and tints of pink and dull orange are used on the wallsand columns of the portal. The EsplanadeNorth Facade, Column of Progress The Esplanade is bounded on the north by the Marina and the sparklingwaters of the Bay: The boundary line on the south is the imposingfrontage formed by the north facade of the four palaces, broken by theinviting entrances to the Court of Ages, the Court of the Universe andthe Court of the Four Seasons. The domes which mark these entrances loom up in fine proportions, andthe entrances to the various palaces are particularly well done. Againstthe old ivory of the massive walls are clustering thickets of cedar, spruce, eucalyptus and clumps of low-growing shrubs. It is a rare combination--the view one has from the Esplanade. Acrossthe Bay are the inviting hills of Marin County and equally enticing arethe vistas stretching through colonnades and arches formed by the courtsand palaces of the Exposition. The Column of Progress, surmounted by the"Adventurous Bowman", holds the most noticeable position on theEsplanade. North FacadeA View from the Bay The Esplanade extends westward from the ferry slip, along the northfacade of the main group of buildings, past the massive walls of theCalifornia building and through the States' section to the Massachusettsbuilding. From the Bay, the dominating center of the Esplanade is the splendidColumn of Progress, on either side of which lies the Spanish wall of thenorth facade broken only by the four magnificent and identicalsixteenth-century Renaissance portals which open into the Palaces ofMines, of Transportation, of Agriculture and of Food Products. From thebase of the Column of Progress, the vista stretches away, through theForecourt of the Stars and the Court of the Universe, to the Tower ofJewels, which dominates the southern approach to the grounds. Againstthe sky-line are outlined the lesser spires of the Italian towers, theheavy bulk of the sculptured groups crowning the arches of the Risingand the Setting Sun, the square summit of the Tower of the Ages and theround domes of the palaces. Palace of Food ProductsA View from the Fine Arts Laguna The impression of unity of design in the main group of buildings isheightened by certain distinctive features which characterize all ofthem in common. On all, there is the central dome, which, with therepeated smaller domes on the corners, is the chief source of charm inthe pronounced Oriental or Moorish effect when seen from a distance. Thelong, unbroken lines and wall spaces give a sense of repose andrestraint and emphasize the richness and beauty of the entrances wherethe decoration is massed. The Palace of Food Products occupies thenorth-west corner of the main group of buildings. Its western exposureis Roman in design to harmonize with the Palace of Fine Arts on theopposite side of the laguna. Its dominant feature is the greathalf-dome, officially called "The Half Dome of Physical Vigor, " whichforms its west entrance. The tall Corinthian columns on either sidesupport Ralph Stackpole's figure of "Youth" and crowning the smallercolumns which line the dome are the repeated statues by Earl Cummings, portraying "Physical Vigor, " from which the dome takes its name. Palace of EducationA View from the Fine Arts Laguna The western exposure of the Palace of Education duplicates the same wallof the Palace of Food Products and the entire facade along the laguna iscalled the Roman wall, by reason of the thoroughly classic spirit inwhich it is conceived. The half-dome here, as there, forms the architectural keystone, and inboth buildings, the three niches on either side hold the samealternating figures. While the half dome, with its entire decorativetreatment, belongs more fittingly to the Palace of Education, thesculptured figures in the alcoves, by Charles R. Harley, representingalternately "Abundance" and "The Triumph of the Fields, " are more inkeeping with the Palace of Food Products. The north face of the Palace of Education, which opens on the Court ofthe Sunset, connecting Administration Avenue with the Court of the FourSeasons, duplicates the three Spanish doorways of its south facade; andin harmony with these doorways, those on the south wall of the Palace ofFood Products, which look out upon the same avenue, are similar intreatment. Palace of EducationThe Half Dome of Philosophy The two magnificent Roman half-domes which give character to theotherwise long and bare wall space of the western facade are called inthe Palace of Food Products "The Half Dome of Physical Vigor" and in thePalace of Education "The Half Dome of Philosophy. " In dignity andnobility, due to massive size and strength of treatment, in beauty ofmodeling and restraint of decoration, this effective use of thehalf-dome is one of the finest architectural achievements on thegrounds. The fine, strong figure by Ralph Stackpole, which surmounts the giantCorinthian columns on either side of the opening is used also at theentrance of the Palace of Food Products and here, as there, it is called"Youth, " the repeated figure evidently signifying in the mind of theartist the union of intellectual and physical vigor which exemplifiesthe finest type of manhood. The dome takes its name from the eight timesrepeated female figure, representing Education, which crowns theCorinthian columns lining its inner curve. Palace of EducationThe Fountain in the Portal The central decorative feature within the half-domes which form thewestern portals of the Palaces of Education and of Food Products is, ineach case, a fountain, architectural in character and of great dignityof line and beauty of modeling; Both were designed by W. B. Faville fromold Italian models found in Sienna and Ravenna. Both are circular inform and built up in successive tiers, the one at the entrance to thePalace of Education being the simplest in construction and gaining morein charm and grace from the flow of the water. The interior treatment of the domes furnishes an effective backgroundfor the fountains. The vault of the ceiling is a richly coloredconventionalized pattern in orange, pompeiian red and blue. The repeatedCorinthian columns lining the curve are of Sienna marble. The doorwaysbetween them, with the Moorish grill above the doors, are in green, while back of the lattice work is set stained glass in deep amber. Administration AvenueThe Fine Arts Laguna The Baker Street Entrance to the Exposition leads directly intoAdministration Avenue. The Horticultural Gardens first attract attentionby their kaleidoscopic patches of blooming flowers. Then the eye travelson past the Palace of Horticulture to the massive bulwark of the Palacesof Education and Food Products in the walls of which two greathalf-domed portals form the principal points of interest. Across the waylies the Laguna with its reflected image of the Palace of Fine Arts, perhaps the loveliest spot in the Exposition grounds. Plants grow in thepool and the shores are lined with iris, primroses, periwinkles, pampasgrass and, overtopping these, weeping willows mingled with other lovelytrees and shrubs. Towards the end of the Avenue is the small but attractive Hawaiianpavilion. The tower of the California building is silhouetted againstthe background of the Marin hills. Administration Avenue receives itsname from the fact that it leads directly to the administrativeheadquarters of the Exposition, located in the California building. Palace of Fine ArtsThe Rotunda and Laguna The Palace of Fine Arts has the finest natural setting on the Expositiongrounds. Consummate skill in planning the entire architectural ensemblegave it a commanding position, at the extreme west of the group ofexhibit palaces. The architect, Bernard. R. Maybeck of San Francisco, found as an asset on beginning his work, a small natural lake and afine group of Monterey cypress. With this foundation he has created atemple of supreme loveliness, thoroughly original in conception, yetclassic in its elemental simplicity and in its appeal to the highest andnoblest traditions of beauty and art, revealing the imagination of apoet, the fine sense of color and harmony of an artist, and the surehand of a master-architect in his confident control of architecturalforms, of decorative detail and of the contributing landscape elements. The conception of the rotunda is said to have been suggested to thearchitect by Becklin's painting "The Island of the Dead" and that of theperistyle by Gerome's "Chariot Race. " Across the Laguna from the Palace of Fine Arts runs AdministrationAvenue and the magnificent Roman wall which forms the western facade ofthe main group of palaces. Palace of Fine ArtsThe Rotunda and Peristyle The Palace of Fine Arts is, in reality, not one complete building, butfour separate and distinct elements. The rotunda, an octagonalstructure, forms the center of the composition. On either side is adetached peristyle which follows the curve of the gallery itself, as itdescribes an arc about the western shore of the Laguna, yet sosuccessfully are they all bound together by the encircling green walland by the other landscape elements, that an impression of satisfyingunity results. The architecture, as a whole, is early Roman, with traces of the finerGreek influences. In general treatment, there is a suggestion of theTemple of the Sun at Athens, while much of the detail was inspired bythe Choragic monument of Lysicrates, also at Athens. The rotunda is Roman in conception, Greek in decorative treatment. Byits sheer nobility of form and of proportion, and by its enchantment ofcolor and sculptured ornament, it dominates the entire landscape. Thehigh spiritual quality of the architect's conception culminates in theShrine of Inspiration, directly in front of the rotunda, as seen fromacross the laguna, where kneels Ralph Stackpole's lovely figure of "ArtTending the Fires of Inspiration, " exquisite in its simplicity anddelicate charm. Palace of Fine ArtsThe Peristyle and Laguna On either side of the central rotunda the peristyle of the Palace ofFine Arts encircles the shore of the laguna in a long semi-circle, formed of a row of Corinthian columns their pale green simulatingage-stained marble. At each extremity of the colonnade and at intervalsthroughout its length are groups of four larger columns, in ochre, eachgroup surmounted by a great box, designed to hold flowers and vines. Panels simulating pale green, veined marble are inset in thesereceptacles and at their corners are drooping women's figures by UlricH. Ellerhusen representing Contemplation. Between the columns, at theirbases, are also set receptacles for growing plants. In its pervading dignity, in the strength of the columns, in the richbeauty of the capitals and in the chaste refinement of the cornice, thecolonnade is essentially Greek. Palace of Fine ArtsIn the Peristyle Walk Between the Palace of Fine Arts itself and its bordering colonnade ofmassive Corinthian columns runs a broad promenade which, while bindingthe two together, receives a sense of freedom and serenity from the opensky above. The wall of the gallery is interrupted only by the simple entrances atintervals. It is low and intimate in comparison with the greatproportions of the other exhibit palaces and its height is furtherbroken by a terrace midway, set with growing plants and shrubs. Thewhole effect desired by the architect is of an ancient ruin, overgrownthrough the centuries with vegetation. Along the edge of the roof runs alatticed Pompeiian pergola, hung with trailing vines, and the wall ofthe building is colored a deep pompeiian red. The immense flower urns, banded with classic figures in deep relief, bearing heavy swinging garlands, are by Ulric H. Ellerhusen. Alternatingwith the massed green of shrubs and plants against the wall are nichesholding sculptured groups. The Roman urns which crown the square pillarsmarking the doors and which, in varying size, are repeated here andthere about the building, are by William G. Merchant. Palace of Fine ArtsThe Rotunda from the Peristyle From any point in the peristyle of the Palace of Fine Arts and under anyatmospheric conditions, either by day or by night; the vistas arepeculiarly satisfying and charming. About the columns of the statelycolonnade are blooming plants in simple, natural groups. And atintervals between the columns under the rotunda or along either end ofthe laguna, the outdoor gallery of sculpture finds a sympatheticbackground and setting. The great dome of the rotunda which crowns so many of the vistas, isstained a velvety burnt orange, with a turquoise blue-green border. Beneath, are eight panels in low relief by Bruno L. Zimm, symbolizingGreek culture and its desire for poetic and artistic expression, conceived in a deeply classic vein and executed with spirit and grace. Below the panels is an attic of pale-green marble. Flanking each pier of the rotunda are two Corinthian columns in Siennamarble, within the arches are corresponding Corinthian pilasters, andwithin the dome against each pier is another massive Corinthian columnin marble, each one crowned with the serene and noble "Priestess ofCulture" by Herbert Adams of New York. Palace of Fine ArtsThe Peristyle Walk by Night Of all the wonderful night effects of the Exposition grounds none are sofull of haunting beauty as the vistas afforded by the Palace of FineArts and its surroundings. By the indirect system of illumination, aneffect as of strong moonlight is produced and from concealed sources, under cornices or behind columns, a soft reflected radiance pervadesperistyle and rotunda. The trees, shrubs and columns cast long, intenseshadows. Through the columns may be seen the long line of the Roman wallacross the laguna, its great, half-domes suffused with a mellow, goldenlight and in the everchanging waters between, it gleams again. From the other side of the laguna, the rotunda and the long crescent ofthe colonnade are seen reflected as in a mirror, and when flooded withthe white radiance of the searchlights, their majestic beauty isindescribable. Palace of Fine ArtsA Fountain in the Laguna Beautiful as the Palace of Fine Arts is from any viewpoint, itssimplicity and noble strength are at their best when seen with aforeground of trees and water. The landscape, in its simple naturalness, is in feeling an intimate part of the building itself and so perfectlydo they blend that they seem to have grown together through quiet, serene centuries. Between the columns and along the wall of the building are bloomingplants and shrubs, groups of Monterey cypress and eucalyptus trees. Theshores of the laguna are banked with shrubs, loosely massed, and groupsof evergreens and weeping willows bend over the lake. Outlining itsirregular border, broken by small promontories and inlets, thousands ofblooming plants creep down to the water's edge and venture out into itsplacid depths--periwinkles, primroses, daffodils, heliotrope, pampasgrass, white and yellow callas, Spanish and Japanese iris and myriads ofothers whose names and gay, nodding blossoms are more or less familiar. Fountains play in the edge of the lake, the charming spirited group hereillustrated being "Wind and Spray" by Anna Coleman Ladd. Palace of Fine ArtsA Picturesque Garden Fountain The graceful garden fountain shown is the work of Anna Coleman Ladd. Itis located toward the north end of the building near the entrance to theperistyle. Of the general effect of the Palace of Fine Arts and of itsdeeper meaning, the architect, Bernard R. Maybeck, says: "There is a succession of impressions produced as one walks through thedifferent parts of the grounds that play on the feeling and the mind, each part having its own peculiar influence on the sentiment. Along themain axis, for example, the Machinery Hall and neighborhood suggest amixture of the classic and romantic, as you understand the terms inliterature. " "The Court of Ages suggests the medieval with all its rising power ofidealism in conflict with the physical. The Court of the Universesuggests Rome, inhabited by some unknown placid people. The Court of theFour Seasons suggests the grace, the beauty and the peace in the landwhere the souls of philosophers and poets dwell. " "The Fine Arts Palace suggests the romantic of the period after theclassic Renaissance, and the keynote is one of sadness modified by thefeeling that beauty has a soothing influence. " Palace of Fine ArtsThe Garden and Fountain of Time In the foreground of this poetic garden scene is the foremost figure ofLorado Taft's "Fountain of Time. " In sympathy with the atmosphericinfluence of such a vista, Bernard R. Maybeck, the architect, continuesthe thought of the preceding page: "To make a Fine Arts composition that will fit this modified melancholy, we must use those forms in architecture and gardening that will affectthe emotions in such a way as to produce on the individual the samemodified sadness as the galleries do. Suppose you were to put a Greektemple in the middle of a small mountain lake surrounded by dark, deeprocky cliffs, with the white foam dashing over the marble temple floor, you would have a sense of mysterious fear and even terror, as ofsomething uncanny. If the same temple, pure and beautiful in lines andcolor, were placed on the face of a placid lake, surrounded by hightrees and lit up by a glorious full moon, you would recall the days whenyour mother pressed you to her bosom and your final sob was hushed by aprotecting spirit hovering over you, warm and large. You have there thepoint of transition from sadness to content, which comes pretty near tothe total impression that galleries have and that the Fine Arts Palaceand Lake are supposed to have. " California BuildingBell Tower and Forbidden Garden The California Building is the result of perhaps the most interestingcombination of requirements that could be imagined--to provide a hostbuilding for the home State of a great Exposition where welcome couldwarmly and generously be extended to the millions of visitors, where theofficials could have suitable quarters and where the fifty-two countiesof the State could have their exhibits. The location set aside for theconcrete development of these requirements was most stimulating. Anedifice to terminate the vista looking north over a laguna of silentwater flanked by the wonderful Palace of Fine Arts, and just beyond, thebeautiful Bay of San Francisco with a background formed by distantTamalpais. No style of architecture could be more appropriate to these needs thanthat which exists in California--an architecture romantic, peaceful, subtle and charming in its proportions. The task of adapting the Missionarchitecture to the requirements was given Thomas H. F. Burditt. Heentered into the spirit of the old Padre builders with rare intuition, and he designed a building of impressive dignity and hospitality. California BuildingThe Arches of the Colonnade The Mission Padres had built neither in magnificence nor in magnitude, and as both of these were requisite qualities in the construction of theCalifornia Building, they presented peculiar problems, and were treatedwith the thought of what one of the old Padres with a limited knowledgeof architecture would have done if presented with the larger problem. Soit seemed that the entrance foyer should be quiet, and massive andshould form a nucleus to all parts of the building. The magnitude of theedifice was so great that all the existing Missions of California couldbe housed therein, and in order to show the largeness of its proportionsand varied functions, each part was designed as a motif in itself andclosely related to that part by which it stood. From the forecourt in replica of the Forbidden Garden of Santa Barbara, surrounded by old cypress hedges, by driveways, and walled in bycloistered arches, one can find the principal entrances to all the maindivisions of the building, and also to the administrative portion whichcontains the executive offices of the Exposition and the officialreception and banquet rooms. California BuildingA Vista in the Colonnade The cloistered colonnades so intimately associated with Missionarchitecture have been successfully handled in the Court of theCalifornia Building. The molds for the columns of the arches were madeby the architect himself, to give the semblance of age and that eachshould differ from the other. It was most necessary to avoid mechanicalregularity in any feature of the building, and in consequence all thedetails vary, so that no two that are exactly similar are placed neareach other. The arches are made of slightly different radii, and thebells vary both in size and design. There are ten main groups ofentrances, but no two of them are in any way similar, and it was throughthese means that the attempt was made to obtain a varied change ofinterest in plan, mass, silhouette and detail and the lack of precisionwhich must have existed at the time when the old California Missionsgrew into being. California BuildingThe Forbidden Garden There had grown on this location for forty odd years, a hedge ofcypress, weary with its age, and groups of trees forming wonderfulmasses of foliage to charm the eye. This happy circumstance was cleverlyutilized by the architect in designing the court of the CaliforniaBuilding. A replica of the enclosed Garden of Mission Santa Barbara waslaid out within the boundary of this old hedge and planted withold-fashioned flowers such as would have delighted the Mission Fathers. In the center is a fountain similar to that at Santa Barbara, and thequiet splash of its water adds a touch of charm and romance. The belltower of the building throws an afternoon shadow over the garden, andwithin a niche in the tower stands the statue of Padre Serra overlookingthis peaceful nook. California BuildingThe Semi-Tropical Garden To the south of the California Building, off the Esplanade, lies aninteresting garden filled with various species of cacti and unusualsemi-tropical plants. Interspersed among these are masses of brightlyblossoming dainty flowers--baby blue eyes in the spring and others, equally lovely, as the seasons change. In a sheltered nook rise the tallslender stalks of rare bamboo, sent from a private garden inBakersfield. The massive walls of the building form a rich background. Theirappearance of stability, enhanced by a slight batter--that is a slightreceding from the perpendicular--is shown by a least visible thicknessof three feet. These features are evident in every wall throughout theexterior of the building. Within the corridors, the floors appropriatelyare paved with red brick, and the ceilings are beamed and roughlyfinished. Netherlands PavilionAs Seen from the Laguna The Pavilion of the Netherlands is located sufficiently near the Lagunato be reflected within the pool. The high dome is adorned with fourclock towers and a forest of flagstaffs and spires. K. Kromhout, whodesigned the building, followed the modern ideas of the present-dayschool of architects in Holland. The ultra style of the Pavilion failsto recall the staunch and dignified brick structures for which the Dutchare famous, but it is a striking edifice. The tiled panels are lovelyand the warm colors used in the exterior decorations most attractive. When viewed from Administration Avenue, the numerous towers, flutteringpennants and harmonious colors are set oft to best advantage by thetrees along the Laguna. About the building, the Hollander's love offlowers is strongly in evidence. Ten carloads of bulbs and shrubs wereimported for the horticultural display. Italian PavilionThe Piazzetta Venetia The Italian Pavilion consists of a group of eight buildings, combiningarchitectural styles of the fourteenth, fifteenth and sixteenthcenturies. The main entrance to the pavilion is on the west, and abroad, low flight of steps leads into the Piazza Grande, graced by afountain by Tacca and pieces of Italian sculpture. On the left is themedieval palace, containing authentic works of art of many ages. Facingthis is the Lombard palace, of the period of fourteen-hundred, used bythe Italian Commissioners as a reception hall. The Royal Salon and CasaItaliana form the east wall of the main court. The inner courts arebeautified with fountains and statuary groups. Covered passageways, supported by slender pillars, extend around three sides of thepiazzetta, and add a delicate charm to the enclosure. The Venetian Wellin the center is a characteristic note, and the stairways leading to theupper verandas, and the niches about this court, are delightful indesign. The outer elevation of the main building is of the sixteenthcentury. Within the Casa Italiana there is an exact reproduction of thelibrary of the S. Maria delle Grazie, Milan. Italian PavilionIn the Court Verrochio The arcade which connects the Etruscan Tower with the Bargello Hallseparates the smaller court of the Italian Pavilion from the PiazzaGrande. The most attractive feature in this ideal court is the staircaseand balcony, done in the period of the fourteenth century, with a mostinteresting composition of the flat walls, pierced by a graceful doublearch, attractively spotted with plaques and brightened by the color ofthe Della Robias and the geraniums blossoming through the balustrade. Adelicate touch is given by the Fountain of the Winged Boy with the Fish, by Verrocchio, which occupies the center of the stone-flagged court. Tothe left of the staircase is a mural fresco depicting the "Return fromthe Crusade. " Old iron-framed lanterns hang from the gray-toned ceilings of thearcades. The coloring of the walls and pillars is stone gray blendedwith shades of brown and grayish-blue. The vivid green of the sun-litgrass within the Piazzetta Venetia relieves the sober color scheme ofthis court. The balconies are lined with blooming flowers, and shrubsand plants in artistic receptacles add to its attractiveness. Avenue of the NationsTower of Sweden's Pavilion The Avenue of the Nations extends from the Exposition group of Palacesin a diagonal direction westward to the Marina, and is lined on eitherside with the pavilions of the Foreign Nations. In the picture there isa glimpse of the Canadian Building to the left, and prominent in theview is the characteristic Swedish tower, typically northern, andinteresting in detail. Immediately beyond is Bolivia's Palace, to an equal degree typical ofthe south, followed by the pinkish-toned building erected by Cuba. Denmark's Pavilion, on the left of the Avenue adjoining the Palace ofFine Arts, is distinctly individual, marked by its towers whichreproduce several historic towers in Denmark, and the moat in whichfrogs croak at night. The interior is arranged to represent the rooms ofa gentleman's country home. On the hillside to the south are severalavenues about which are grouped others of the Foreign Pavilions--thepicturesque gardens of Japan, the open court of France, with its Rodinbronze, and the dignified pavilions of Australia, Norway, Greece andmany other nations. The EsplanadeA View of the Foreign Pavilions The pavilions of the Foreign Nations are on the south side of theEsplanade, westward from the group of Exposition Palaces. In theforeground of this view is seen Canada's stately building, guarded bythe massive British lions. The admirable and comprehensive exhibitwithin has aroused great admiration and established a standard for suchdisplays. Beyond is the pagoda of the Chinese gardens, and the teahouses, with their roofs colored in the wonderful yellow which occurs sooften in the old Chinese rugs. The slate-colored dome of Argentina's ornate Palace precedes thepinkish-toned Netherlands building seen in the distance--the ratherwhimsical style of the latter adding a distinct note to that section ofthe grounds. The park to the south is distinguished by two Orientalbuildings erected respectively by Siam and Turkey. The first is an exactcopy of a royal pavilion in the Garden of Maha Chakkri Palace, atBangkok. The latter is equally typical of the East, marked with dome, minarets and spires, and includes the main pavilion and a near-by mosqueand prayer tower, connected with it by a corridor. The EsplanadeA View of the State Buildings The buildings erected by California's sister Commonwealths occupy thedistrict west of the California Building, and the north line of theEsplanade to the Marina. Designed in various individual and dignifiedstyles, surrounded with handsome lawns and beautiful gardens, they haveformed a most important and interesting feature of the Expositiongrounds. Many of the buildings reproduce historic landmarks. The goldendome of the Massachusetts State House is as dominant a feature at thehead of the Esplanade as is the original on Beacon Street in Boston. Theloggia of Independence Hall is familiar enough to bring a patrioticthrill to the heart of the loyal American, even were not the cherishedLiberty Bell on view. Another Colonial feature is the Trenton Barracks, Washington's headquarters in New Jersey; and "Homewood" takes one backto Charles Carroll, of Carrollton, and Baltimore in 1802. The massivelog building from Oregon is fairly representative of that state ofvirgin forests, notwithstanding the mistaken attempt to reproduce theclassic Parthenon in such a crude medium. In this view the magnificentbuilding for New York is in the foreground. Beyond, in the order named, are the buildings for Pennsylvania, New York City, Illinois, Ohio, Utahand Massachusetts. The ZoneA Holiday Gathering The Zone, while providing excellent entertainment and relaxation, isabove the standard established by the amusement sections of formerexpositions, many of its concessions being of an educational nature. This is notably true of the Panama Canal, which appears on the left ofthis picture. Because of its value as a faithful reproduction of thegreat work which the Exposition commemorates, many consider it asdeserving a place in the main grounds. Almost equal to this ineducational interest and quite ranking it in beauty are thereproductions of the Grand Canyon with its Hopi and Navajo Indians, andYellowstone Park. Old Faithful Inn in the latter is a favorite place forsocial gatherings. For pure fun and gaiety, Toyland Grown Up, that whimsical conceitespecially built for youngsters, old and young, has provided merrimentfor thousands. Of thrillers that raise the hair and make the heart beathigh and without which no amusement section would be complete, the Zoneannounces its full quota with much rattling of machinery and manyshrieks of joy. And the presence of strange peoples, one of the recognized features ofthese places, is also noticeable along the Zone. A Maori tribe from NewZealand, Samoans, Hawaiians, Aztecs from Old Tehauntepec, and othersbring their customs and costumes from unfamiliar lands. The ZoneThe Bizarre Decorations There is something naive about the Zone. It presents its colossalgrotesques--its gargantuan Uncle Sam, its monstrous elephants--ratherwith an air of acknowledging that it cannot compete with the beauty oneleaves behind when one turns in under its gay flags ad lanterns. Here isfrankly the spirit of abandon. To the right and left the bawling barkersshout their enticements, begging one's patronage. Up and down the streetthe endless patter of the feet of men and women, the wheeze of thelittle electrics and the blare of brassy music ebb and flow. Here andthere is the dominant note of the Exposition, its pastel shades of burntorange and red, and its indefinable blue. They flutter forth, hoopedabout the flagpoles with Oriental effect. Those wonderful lanterns, thatdelightful medieval touch which one finds through the grounds, are hereemployed with great effect. When one is tired of gigantic horses with ever-impending hoofs, tired oflarge plaster ladies whose complete poise does not entirely atone for arather excess of buxomness, one can always turn to these reminders ofthe beauty that is the essential characteristic of the Expositionitself. The FireworksStar Shells and Steam Battery Notwithstanding the excellence attained by the Exposition in the beautyof its coloring, the poetry in its courts and architecture, the mysteryand glamour of its illuminations, the spectacular element could not beoverlooked. This finds expression in the fireworks that are let loose onthe Marina several evenings each week. Here, however, a distinct advancehas been made upon the familiar pyrotechnic display of former events. The use of powerful scintillators with their colored rays playing uponsmoke clouds and flying devices from exploded bombs high in the air, orupon weird shapes of steam sent out by the engine on the border of theyacht harbor, lends infinite variety and beauty. In several of thenumbers the scintillators secure the effects unaided, their lightsmaking strange figures in the heavens. "Spooks' Parade, " "AuroraBorealis, " "Devil's Fan, " are some of the ideas suggested. Zone SalvoThe Final "Big Noise" The Exposition Fireworks are under the direction of William D'A. Ryan, Chief of Illumination. On each occasion a set program is followedconsisting of twenty-four numbers. At the opening, a salute of tendetonating bombs and a large rocket announce the event. This is followedby features of the scintillator lights, combinations of these withsteam, with smoke bombs and with orange showers and Japanese daylightshells, and by fancy star shells, festoon rockets and candle fountains. The climax is reached in the Zone Salvo when a tremendous explosion ofhundreds of detonating devices occurs, with rockets and star shellsexploding in the air, the rays of the scintillator coloring the smokeclouds in brilliant hues; and amidst it all, high above, suddenlyappears a beautiful American flag caught and followed by the ray of apowerful white searchlight as it floats away from sight. Here ends The Architecture and Landscape Gardening of the Exposition, with an introduction by Louis Christian Mullgardt. The descriptivetitles have been written by Maud Wotring Raymond and John Hamlin. Edited by Paul Elder. Published by Paul Elder and Company and seenthrough their Tomoye Press under the typographical direction of H. A. Funke in the city of San Francisco during the month of September, Nineteen Hundred and Fifteen.